Honor Among Lovers

Julia Taylor (Claudette Colbert) is a crackerjack Girl Friday for focused businessman Jerry Stafford ( a mustachioed Fredric March) who is impressed by more than her efficient and invaluable assistance to him. When she informs him she is to marry another he has to fire her due to his romantic feelings regarding her. Reluctant to make his romantic intentions known, she commits to a reckless financier (Monroe Owsley in a typical unctuous turn), a smug adulterer who eventually goes bust. To save him she offers herself to the ever noble Stafford who responds by bailing him out no strings attached.

Colbert and March always paired well together and in "Honor" they do so again but Dorothy Arzner's direction lacks passion as the couple find their way into each other's arms eventually in what is mostly a dull affair that relies on more reason than raciness.

We've all had to sit through those tedious sexual harassment videos at work – bland, patronizing productions that are required viewing for all new employees. Companies could make the experience a whole lot more fun if they just showed this film instead.

Moustache-sporting Fredric March is wealthy CEO Jerry Stafford, a debonair gadabout who secretly pines for his cute and unattached secretary Julie Traynor (Claudette Colbert). Not so secretly, actually – within the first ten minutes Stafford hits on Julie with abandon and then steals a kiss which leaves her flustered. He brushes it off with a "I was surprised just as much as you were" (though a careful reviewing of the scene confirms that he wasn't surprised at all), then pops open the wine – they're having lunch in his office, natch – and asks her to go on a cruise around the world with him. Safe to say, this guy would be in white collar prison these days. Even better, a few scenes later Julie marries her low-incomed broker of a fiancé (Philip Craig, as played by the Pee Wee Herman-looking Monroe Owsley); she reports to work the following Monday to tell Stafford she won't go on that cruise with him after all, on account of marriage. Stafford's response? He fires her!

I should mention here that Jerry Stafford is the hero of this film. Yes, we're certainly in the world of 1930s cinema.

Stafford doesn't turn out to be the biggest cad. That would be Craig, who by his and Julie's first anniversary has become wealthy, due mostly to the money Stafford has given his brokerage firm. Craig loses all of his newfound wealth on a silk deal Stafford cautioned against. Only problem is, Craig used some of Stafford's money as well…without telling him. Destitute, Julie goes to Stafford and asks for money, offering herself in exchange. Here the movie becomes like the 1930 version of "The Cheat" (available on the Pre-Code Hollywood DVD set), with foul play, accidental shootings, and exonerations. Only in this movie no one gets branded.

This was the second of four on screen pairings for Colbert and March. The following year they reunited for DeMille's "Sign of the Cross" and, a month after that, for Mitchell Leisen's "Tonight Is Ours" (filmed in late '32 but released in January '33 – and ostensibly credited to director Stuart Walker, who according to all and sundry did nothing). I enjoy these two together, though apparently Colbert didn't; March was notorious for getting a bit too "familiar" with his leading ladies. Colbert reportedly disliked the man – there are stories of March wandering around "in a daze" on the set of "Sign of the Cross," he was so nuts about her.

Overall, a predictable melodrama that's most memorable for its (nowadays) jawdropping displays of sexual harassment in the workplace and the fact that it features three celebrities (Colbert, March, and a twenty one year-old Ginger Rogers) on the brink of their still-enduring fame. Dorothy Arzner's directorial work is okay, but nothing incredible -- the camera's static most times and, other than a solemn scene of Claudette walking up a hauntingly-lit staircase toward the end of the film, there aren't many novel shots. Arzner's work was much better in her subsequent film with March, "Merrily We Go To Hell" (also included on the Pre-Code Hollywood DVD set).

In this romantic melodrama from Paramount Pictures and director Dorothy Arzner, Claudette Colbert stars as Julia Traynor, secretary to wealthy business mogul Jerry Stafford (Fredric March). The two work great together, but when Jerry reveals that he has romantic feelings for her, Julia states that she has a boyfriend, Philip (Monroe Owsley), and that they are to be married. After some time in drunken commiseration with his dissolute pal Monty (Charlie Ruggles), Jerry comes to accept the union of Julia and Philip, and even allows Philip to invest money for him, which leads to problems for everyone. Also featuring Pat O'Brien in his feature debut.

This is light on plot and style, and its appeal rests with the performers, all of whom are good, although Owsley makes one wonder what Colbert saw in him. Ginger Rogers is amusing as a dim-bulb chipper companion of Ruggles. This marked one of the first appearances of March's mustache.

Directed by Dorothy Arzner, Honor Among Lovers concerns a smart and efficient secretary, Julia (Claudette Colbert) to mogul Jeffy Stafford (Fredric March) who is in love with her.

Knowing that she can't fit in with Stafford's wealthy friends, Julia marries Philip Craig (Monroe Owsley), who turns to be a weak loser and winds up putting both of them in a terrible situation.

Colbert is absolutely wonderful in this -- natural, charming, and relaxed. Charlie Ruggles is a riot as a stockbroker, and watch for Ginger Rogers in a small role.

Nothing special except for the performances. And, we get a chance to see Claudette Colbert's right side.

Owsley, who was the second male lead in Honor Among Lovers (HAL), is little known and seldom remembered today. Too bad, because he had a special acting talent that enabled him (like in HAL) to convincingly play both straight "good guys" and edgy "bad guys" at one and the same time. In the 1940s, that skill was also represented by several roles created by the young Vincent Price. Owsley could project menace quite easily, and you were never sure exactly what he was going to do next. The famous film historian Lawrence J. Quirk best described Owsley as " a brilliant actor who died early in life (and) had in common with another goose-pimply-grater, Dwight Frye, an ability to make the collective audience's hair stand on end. He came on with a sandpaper-oozy-with-glue repellence that perfectly contrasted with the handsome profiles and bejeweled shapelies around him." In HAL, Owsley certainly provided a clear distinction to the matinee-idol like appearance of stalwart Fredric March in one of his entertaining early leading man roles. And strange as it may now seem, Owsley gave us a performance in HAL that made it seem plausible to believe that he and Claudette Colbert (in only her eighth movie) could end up as a real married couple in the film!

HAL's dense plot and curious title are pretty much irrelevant when considered by today's audiences. However, contemporary viewers of HAL will be almost immediately struck by its pre-code references to pre-marital sex, workplace sexual harassment, marital physical violence and adultery that were made without batting an eyelash! The early feminist director Dorothy Arzner kept the proceeding moving at a brisk pace, and enabled March and Colbert to look quite handsome, beautiful, and charming.

While HAL is not a particularly memorable film, it does stand out as a cinematic record that captures March, Colbert, Owsley and director Arzner at the dawn of their noteworthy movie careers. While Owsley and Arzner soon faded into obscurity, March and Colbert would shortly become very significant in Hollywood and emerge as film stars of the very first rank for many years to come.

One last word about the long forgotten Monroe Owsley. Quirk in his illustrated biography of Claudette Colbert stated that Owsley was given a rather unflattering nickname by his fellow colleagues "because his sadistic treatment of the fair sex on screen .....came off as serpentinely evil.". While that may be a harsh way to refer to a fine actor's rather unique talents, it does remind us of just how remarkable and varied the roster of performers was during the Golden Age of Hollywood.