Friends and Lovers

A bit of a twist on the average love triangle story, this early American film adds in something to think about in terms of coincidences in life. Everything that happens, with characters meeting who have all been seduced by the same woman, is so reliant on convenient coincidences that it would almost be contrived, if it were not for the fact that the film is indeed about stories that sound contrived but are real, a point made clear by the discussions at the dinner table scene. The film is very talky, without much room set aside for establishing atmosphere, but the dinner scene is so intense that the lack of atmosphere elsewhere is almost forgotten, and there are a few stylish bits, such as a door opening slowly so that it cannot be seen who is opening it.

In a supporting role, Erich von Stroheim plays a central European porcelain collector who manipulates his wife into seducing British gentlemen so that he can later blackmail them. It seems a shame that he was not given a bigger part, because he has by far the most interesting character and he gives off the liveliest performance in the film, speaking slowly to toy with Adolphe Menjou, and moving about the place in such a cool, leisurely manner that one is constantly hanging on edge. Unbeknown to him, his plans go awry when it turns out that two of the men that his wife has seduced are old friends; this coincidence is obvious and too slowly played out, but the resulting initial resentment followed by acceptance that occurs between the two men is interesting to track.

The film looks like it may have been intended to be a satire, and the coincidences are sort of funny, however there's nothing comical as such about the film other than von Stroheim's appropriately domineering performance and the way that he talks - how he says "passion" with his accent comes out rather humorously. The film does not quite work as a satire, presenting more so things to think about then any definite message, and the transformations and motivations of Lili Damita's seductress character are never clear and seem a bit awkward. Damita herself is not exactly excellent in her role - she is visually striking, but never as charismatic as a femme fatale should be. The rest of the cast are generally fine, as is the overall production. It just falls a little short of being anything really special.

This film gets off to a great, weird, very racy Pre-Code start. In the first couple of minutes we are introduced to an adulterous young wife (Lili Damita) and her slimy, sadistic, blackmailing husband (Erich von Stroheim). You can't take your eyes off von Stroheim; his over-the-top performance is not exactly what you'd call great acting, but it gives the film its only real juice. Once he's—literally—out of the picture, we're left with a static, conventional, and uncompelling love triangle.

Others have already commented on Miss Damita's strengths (beauty and sex appeal) and weaknesses (no real acting ability), which I believe is a fair assessment of her contributions. Despite her physical charms, I found it difficult to believe that men would be driven to extremes of jealousy over her... which seriously undermines the main premise of the story. And when she chooses Adolphe Menjou over Laurence Olivier... well, that's REALLY straining the bounds of credibility!

Speaking of hard to believe, there's Hugh Herbert, making a pathetically inept attempt at a Scottish accent. (He went on to become a repeat offender, once again inflicting his bogus burr as Detective John McTavish in 1934's EASY TO LOVE). Herbert's recurring "business" about the women in his life gets very tiresome very quickly.

The biggest liability in the film is Adolphe Menjou, woefully miscast as the man who wins Damita's heart over all her other lovers, including a very young, very handsome Laurence Olivier. Scrawny, pinch-faced Menjou was over forty at the time (he looks even older); ludicrously, he is repeatedly referred to by various characters as "young man." It's obvious that the part was written for a younger, sexier actor. Had they cast someone more appropriate, the story would have had a lot more sizzle.

Though I rated the film only four stars, I'd recommend it to die-hard film buffs. Besides von Stroheim's memorable characterization, it's got a nuanced performance by the young Olivier, the lovely Miss Damita (and her equally lovely wardrobe), and some appealingly quirky scenes and performances. It's not great art, but it's good entertainment.

This is a wonderful pre-code pot-boiler with sterling performances from it's lead players, plenty of action and the man "You Love to Hate" Eric von Stroheim, at his most repellent best.

Look out for the outstanding shower scene for Lilly Damita, and listen to the sonorous magic of Laurence Olivier's voice, both reason enough to watch this little-known piece.

At 64 minutes, the most fun you can have in an hour of black and white.

...in this pre-code drama from RKO and director Victor Schertzinger. Adolphe Menjou stars as Army Captain Geoffrey Roberts. He's been having an affair while on leave with married socialite Alva Sangrito (Lili Damita). Her aristocratic husband Victor (Erich von Stroheim) blackmails Capt. Roberts for money in exchange for keeping the scandal quiet. When Roberts returns to active duty at a dangerous outpost, he is happy to see his friend Lt. Ned Nichols (Laurence Olivier), only to later learn that Ned is in love with someone: Alva! The two nearly come to blows over her, but circumstances may make her the least of their worries

This aims for an adult sophistication but often comes across more sensationalist and juvenile. Damita's character is barely more than a prostitute, and she gets a nude shower scene and some lingering dressing scenes. Olivier hasn't found his voice yet (this was made during his initial attempt to become a screen star, and before he became a stage triumph back in England), and von Stroheim alternates from reveling in his sadism to barely trying to get through his lines. Menjou is a smooth charmer, as usual. Fans of the performers should take a look, as well as those who enjoy seeing the pre-code boundaries pushed.

This is the sort of film that got RKO Radio studios into financial trouble. It has a great cast: Damita, von Stroheim, Menjou, Olivier. The plot is predictable, and the story threadbare. I doubt if there were many more people in the 1930s who were turned on by this kind of melodrama as there are now.

A porcelain collector uses his younger wife to ensnare rich army officers, so that he can blackmail them. Two officers, serving in the British army in India, find out that they are both in love with this same woman. That is the plot in a nutshell. The saving feature of this film it to witness some pretty good acting performances. Apart from Hugh Herbert, whose Scottish accent slips like a postman in the snow and sounds about as authentic as the MacFarterchops tartan, the rest of the cast turn in some pretty good performances. Von Stroheim's performance is weird; but then again he is playing a weirdo. Menjou turns in a competent performance - as he always does. Olivier is subtle: you have to watch him carefully to fully appreciate what he does. The same can be said for Damita. Yes, it's great to have a sophisticated leading lady who doesn't mind getting her kit off; but watch her performance next to Olivier in the dining table scene. Further down the cast, the pair who play the general and his sister turn in good performances, too.

The performances of the cast rescue this film, which is of its time. It is watchable.