The Purchase Price

This is sold as "pre-Code," as if there will something risqué or shocking, but certainly by today's standards -- or lack thereof -- and even by those of the era, there is nothing to bother your grandma or even your (reasonable) preacher.

There is something, though, to excite the movie-lover: Barbara Stanwyck's performance.

Apparently in real life she was a pretty tough cookie, and certainly she played some hard women in many of her films.

In "The Purchase Price" her character refers to herself as having maintained some sort of a reputation and in fact she comes across as a very nice, even admirable person.

She certainly looked good, with a gentle strength, or strong gentleness, poking out of the chorus girl/mistress persona.

The story, though, never does make much sense, and why the people did what they did, except for the character played by Lyle Talbot -- in a great role for him, and excellently played -- is not clear.

One more glaring error: North (brrrr) Dakota doesn't have any hills, and the shots of snow-capped peaks showed that wherever this film was shot, it sure wasn't North (brrrr) Dakota, you betcha.

One scene of plowing showed the genuine agoraphobic look of that state, where neither hills nor even trees are native. Except for cottonwoods along the creeks and rivers, what trees there are in North (brrrr) Dakota have had to be brought in from the real world.

Plus North (brrrrr) Dakota drunks and brawlers are not Irish and Scots, as this movie implies, but Poles and Czechs and Germans, sometimes even Norwegians, unless they are Lutherans then, of course, they don't drink or brawl. And if you don't believe me, ask their preachers.

Anyway, watch this for Stanwyck and suspend your disbelief about all the rest. She is worth spending your time.

Sometimes I think you just have to be in the mood for certain films. This may have been one of those times. "The Purchase Price" from 1932, largely thanks to Barbara Stanwyck, is actually a very sweet film.

Stanwyck plays Joan, a torch singer, unhappy with her present life and the racketeer, Eddie Fields (Lyle Talbot) with whom she's involved. When she finds out that someone has used her photo and sent it off to be a mail-order bride, Joan decides to show up in person and takes off.

She ends up in farm country with Jim Gilson (George Brent) who's in debt up to his eyebrows. However, over the years, he has developed an excellent grain seed - if he can stave off the creditors until the next planting season, he'll be okay.

To Joan's credit, she settles in, determined to make him a good wife and to be a good neighbor, and she falls in love with Jim. When her ex-beau shows up, Jim jumps to some wrong conclusions.

Barbara Stanwyck is great in this, giving a warm, sincere performance. She is glamorous in the first few scenes (though boy, she can't sing), and she remains sexy and pretty even plainly dressed on the farm, causing a lot of men to notice her and make dumb old Jim jealous.

This is a different kind of role for George Brent, who soon would be well-dressed, mustached, and sophisticated as he played opposite Bette Davis. Here he's an oaf.

The movie is short and moves quickly. Stanwyck's performance helps give a freshness to a story that was old even back in 1932.

She may be dressed down for the farm wife's part, but this is Stanwyck at her youthful loveliest. So, can Joan (Stanwyck) adjust to the rigors of rural life after the glamor of big city nightclubs. If you can buy her becoming a mail-order bride as an alternative, you might buy the rest. Seeing her city girl alone on the vast Canadian prairie, suitcase in hand, waiting for her intended, does present a stretch. Nonetheless, now she's got purpose in life, no longer just a meaningless rich man's ornament. I do wish Brent as her mail-order hubby showed a little charm, something that would help us believe she would stick with her new life. Instead, he's overly dour and insensitive, wanting to manhandle her on their wedding night. Getting the two in step with each other makes up the movie's main part.

The movie's quite good at showing the rigors of farm life—the primitive farm house, the constant grubby toil, the relative isolation. I expect Dust Bowl audiences could identify with these demanding aspects, especially when the bank threatens to repossess Jim's (Brent) farm. That Joan manages to stick it out and thrive suggests that behind city decadence lies a common humanity and hidden grit-- a good message for that time and maybe any.

Anyway, pre-Code doesn't disappoint as Stanwyck gets to show off fancy and not-so-fancy underwear. Then too, sleeping arrangements leave little in doubt. Note too, how little is done to prettify either the rough-hewn people or their lives, even though most are stereotypes. Also, I could have done without the barking idiot as comedy relief. All in all, this Warner Bros. antique (1933) remains a fairly interesting little programmer, with a humane underlying message.

BARBARA STANWYCK is a city gal fed up with the sophisticated life of a nightclub singer and her lecherous boyfriend (LYLE TALBOT) and who sees an "escape" by fleeing to the country for a more bucolic existence and more wholesome environment. She gets more than she bargains for when her mail order husband turns out to be shy farmer (GEORGE BRENT), whom she at first repulses when he comes on too strong with his lovemaking and then spends the rest of the film trying to make it up to him.

The unusual domestic drama gives both Stanwyck and Brent offbeat roles which they handle beautifully. Brent is a surprising revelation as the shy, bumbling country guy with no understanding of Stanwyck's softer feelings and holding off loving her until the final reel, after the two of them have to save their crop of wheat from burning to the ground.

Only weak point in the story is the overdone nature of the wild party scene shortly after their wedding and Stanwyck's reaction to the crudeness of the country bumpkins. It seems a bit of a stretch to believe the way this scene unfolds.

But otherwise, an interesting look at Stanwyck who excels in showing both sides of her character--tough and tender--and Brent, who is usually the more debonair, sophisticated man showing us another side of his personality (and with some nice touches of humor too) as the shy groom. They both get excellent support from LYLE TALBOT as "the other man" in a rather thankless role that he makes believable.

Well worth watching and nicely directed by William Wellman.

The appeal of this somewhat run-of-the-mill film is Barbara Stanwyck in an early display of her mega-watt star power and her ability to turn mediocre material into something special.

Her character doesn't make much sense: a nightclub singer from the city who wants to get away from the bootlegger boyfriend hounding her and so agrees to an arranged marriage with a farmer up in the wilds of North Dakota! The bootlegger (played by Lyle Talbot) isn't threatening or abusive, so one wonders why Stanwyck needs to go to such great lengths to avoid him -- keep wondering, because the movie never explains it. But if you can swallow that, then you can easily swallow the fact that this urban good-time gal seems to know all about how to run a farm.

Which brings me back to Stanwyck. The movie's premise isn't remotely plausible, but Stanwyck somehow makes it so through the confidence of her performance. I really think she could make anything worth sitting through just for the pleasure of watching her.

The film does provide an interesting look at what farm life in the early days of the 1930s was like, a lifestyle I've only seen recreated in more modern-day movies.

Grade: B-