The Flirting Widow

Celia comes from a rich British family and her father has very peculiar and old fashioned ideas. He won't allow his second daughter to marry until his oldest, Celia (Dorothy Mackaill), marries. Well, Celia is a bit masculine in her style and doesn't appear to want to marry anyone. So instead she creates a fictional fiancé, Colonel John Smith of the British Army. She even writes a letter to this fictional man...and it somehow gets delivered to an actual Colonel John Smith (Basil Rathbone)! In the meantime, she creates a fake obituary and pretends that her beloved was killed. However, when the real Smith shows up, things get interesting!

Like any film from 1930, its style isn't as smooth or sophisticated as talking pictures from just a couple years later. Due to primitive recording equipment, the characters tend to stay in one general spot during most scenes (usually because there was a microphone hidden someplace nearby instead of the boom microphone in later films. And, they hadn't yet figured out how to include incidental music...so it seems a bit odd. You cannot hold these things against the film...it is a product of when it was made.

Overall, this is a cute film with a clever script. The only problem that when it was made it played well...and only a few years later, it would seem badly dated. Clearly, this film could be great if it were remade. As it is, it's clever and enjoyable for someone who appreciates early talkies...others might find it a bit stilted and flat. My score of 7 takes into account when it was made as well as its entertainment value today.

...because I think "The Flirting Widow" is an early talkie delight, practically an ancestor of the screwball comedy. The setup of the story is this - Faraday (Claude Gillingwater) is an English gentleman with three daughters. The middle daughter has already married and now the youngest daughter,(Flora Bramley as Phyllis), wishes to marry Bobby (Anthony Bushell). But Faraday is old fashioned, the type that believes daughters should marry in order of age so that the older unmarried sisters are not branded spinsters. Faraday breached this law once, but he won't do it again for Phyllis. Celia (Dorothy McKaill), the oldest must marry first. Unfortunately, Celia dresses in drab manly fashions and even wears her hair slicked back like a boy, has no suitor and wants none. Her family hasn't made it easy for her to socialize either, because with her mother deceased, it has pretty much fallen to Celia to organize the servants and make sure all of the household supplies are purchased and paid for.

When Celia returns home from a house party she has been to and hears Phyllis' problem, she comes up with an answer. She claims she has become engaged to a fictitious Colonel she met at the party, and he has sailed that day with his regiment to Arabia. What Celia plans to do is wait until Phyllis is married and then place a death notice in the papers saying her fictitious fiancé has died in combat. In the meantime, being engaged, she is now free to socialize like the younger daughters, she spruces up her wardrobe, literally lets down her hair, and becomes the attractive Dorothy McKaill we are accustomed to seeing.

But her female relatives are too nosy. They demand she write "Wobbles" - her fictitious pet name for Colonel "John Smith". She does and thinks that she has tossed the letter into the fire. What she doesn't know is her sisters do her a favor, look up Colonel Smith (Basil Rathbone) in the military registry, and mail the letter for her. Yes, Col. Smith actually exists, receives this letter from the fiancée he did not know he had, and is so intrigued that he decides to meet Celia in person. Imagine his surprise to find, when he reaches the Faraday home, that he is not only engaged, he is dead too! Dorothy McKaill did not surprise me here - she's always been able to project a range of emotions. The real surprise here is Rathbone who proves himself very able at comedy. Emily Fitzroy, who usually plays wicked older women, is hilarious as Celia's aunt Ida who means well but has a weakness for brandy. If Claude Gillingwater had lived longer and been a tad bit younger, he would have played the kind of roles that Charles Coburn got later on.

The only thing that hurts the film is the pace is just a bit slow - but not bad at all if you realize that pacing was one of the things with which all of the early talking films had trouble. Highly recommended.

...and he's quite dashing, a tall charmer of exquisite phrasing and mellifluous voice. Here he's a military man who, for complicated plot reasons, receives a love letter from a woman he never met. That's Dorothy MacKail, now utterly forgotten, but a quite popular and capable Follies beauty who starred in a number of early talkies. She's an heiress who has had to invent a fiancé so her younger sister can wed, and her total fabrication of a love letter has been delivered to Rathbone. It's a slightly stiff early-talkie drawing room comedy of scant surprise and pedestrian direction, by William A. Seiter, and has a not terribly interesting supporting cast; best is Emily Fitzroy, as a tippling aunt. But MacKail and Rathbone were always worth watching, and they do strike sparks as they spar and deceive one another. An OK hour and a half, and if it makes you hungry for more Dorothy MacKail, that's understandable.

In (someone's) old custom, the eldest sister had to marry first. But this really held things up for the other sisters, who may have already found their desired mate. And younger Phyllis (flora bramley) has found her man, Bobby (anthony bushell). So they hatch a scheme to marry off Celia, the older sister (dorothy mckaill). But Celia has some tricks of her own up her sleeve. The picture quality is pretty rough, an everyone is wearing SO MUCH face makeup. The sound is fine... and of course, this film is almost 100 years old, so we're lucky to have it in any condition. When a military man (Basil Rathbone) arrives at the front door, a huge monkey wrench tossed into the works. Rathbone had been knocking around hollywood for ten years, but hadn't started playing Sherlock Holmes yet. The story is rather silly, some scenes just go on waaaaay too long. When the mother goes into hysterics, that scene just goes on forEVER. And when they talk about going out or leaving, it takes FOREVER to actually do it. So much blathering. Started with a good premise, but the story needed jazzing up. Directed by Bill Seiter. Novel by british author A. Mason, probably best known for Four Feathers. THAT one keeps getting remade, first as silent films, and several times as talking pictures.

I enjoyed this so much I'm going to watch it again.

This is not something I ever thought I'd hear myself say but Basil Rathbone is hilarious! Neither can I believe that I actually laughed out loud at something written in the 1920s!

This is that rarest of things: a filmed stage play that's actually a proper film. So many early talkies look like they were made by someone just nailing a camera to the end of a stage, telling everyone to speak really slowly and hoping for the best. The acting is usually theatrical and stagey with the staging being static and stilted. But no, not in this; they do the impossible - take a stage play, keep the structure but make it into a genuine picture. Its style is very old fashioned but that just adds to its old world charm.

If you like a good old fashioned farce, whether it's The Aldwych Farces, Don't Just Lie There or the Carry On films, this should appeal to you. I'm genuinely surprised just how funny this is. Apart from The Marx Brothers, some Eddie Cantor and a handful of Laurel and Hardy films, I find a lot of American comedies from this era loud and crass and apparently made for simpletons. This isn't particularly classy and is hardly sophisticated but has a weirdly modern sense of humour. Acting, pace, presentation, dialogue and story are just right. Until ARSENIC AND OLD LACE came along over a decade later, I don't think I've ever seen a stage play so skilfully transformed into a motion picture.

There's none of that unnatural theatrical acting style here, except for comic effect. A lot of the characters are over the top caricatures as you'd expect in a comedy but everyone acts and talks like real people....sort of....it is still 1930 after all. As I said, Basil Rathbone, perhaps because you don't usually associate him with comedy is brilliant but so is Yorkshire lass, Dorothy Mackaill who has real comic timing. She made the transition absolutely seamless from silent acting style to acting in the talkies. You could imagine her in any modern drama or sit-com. She's also very pretty and without flaunting herself at all, she somehow exudes a sweet understated sensuality - and she's such a cute smile!

OK, this is not a classic, it's probably not in anyone's all time top ten but now it's definitely going into my top fifty. Well made, well acted and great fun.