The Rich Are Always with Us

All these rich people and no one seemed to know a Depression was on.

Ruth Chatterton, George Brent, and Bette Davis star in "The Rich Are Always With Us." from 1932.

Then ten-year marriage of Caroline Van Dyke (Chatterton) and Greg Grannard is falling apart. It's one of those things where everyone flirts openly no matter if the spouse is standing right there or not.

Julian (Brent) is mad for Caroline, but she resists him, and, sensing Greg may be on his way out, pushes the issue. She says no and leaves for Paris, intending to file for divorce.

Julian follows her. Greg is having a hard time financially - I guess the Depression did hit him. Caroline returns to the U.S. to help -- she's filthy rich and always has been.

And so it goes, with Malbro (Davis) in love with Julian as well.

Elevated by the performances. Bette Davis is so young and fresh, she's marvelous. Brent looks very elegant in his dress clothes and plays the bachelor well.

And Ruth Chatterton - I can never figure out why I love her so much. Although forty at the time, she plays a thirty-year-old, which she often did. And I think they could have helped her a little by not giving her such awful clothes. She came from a stage background and really had a way with a line. Very natural, and yet somehow manages to be sophisticated at the same time. The whole film has a level of sophistication one doesn't see today.

Okay film - see it for the performances, particularly the early Davis, who nearly walks away with the film. And check out Brent lighting two cigarettes and giving one to Chatterton - guess that preceded Now, Voyager by a few years.

THE RICH ARE ALWAYS WITH US (First National Pictures, 1932), directed by Alfred E. Green, marks the Warner Brothers/First National Pictures debut of Ruth Chatterton, following her success in MADAME X (Metro-Goldwyn-Mayer, 1929) and several other dramatic roles under the Paramount banner. Though briefly a stock player for Warners (1932-1934), her association would be short lived first in favor of Kay Francis (also from Paramount), then finally Bette Davis, who also appears in this production. As much as THE RICH ARE ALWAYS WITH US is virtually a Ruth Chatterton film, many familiar with the title would associate it with Bette Davis, who actually plays a secondary role here opposite George Brent, her second of eleven films with him, and Brent's first of four opposite Chatterton, whom he would actually marry and leading to a short-lived marriage.

The story begins in 1900 where women are seen discussing the Van Dyke's birth of a daughter they call Caroline, "the richest baby in the world"; then to 1920 where gossips talk about Caroline Van Dyke's marriage to stock broker, Gregg Grannard, and finally 1930 where Caroline Van Dyke (Ruth Chatterton), "the richest woman in the world," is dining with Julian Tierney (George Brent), a novelist. As much as Julian loves Caroline, his feelings aren't the same with Caroline's best friend, Malbro Barkley (Bette Davis), who loves him. At the same time, Caroline's husband, Gregg (John Miljan) is seen dining in the same restaurant with his client, Allison Adair (Adrienne Dore). Later at a party, Caroline entertains Julian while Gregg spends much of his time with Allison. After Caroline catches Gregg kissing Allison, she then realizes her marriage is over, especially after having her woman to woman talk with Allison, who claims she can make Gregg happy. Going through divorce proceedings in Paris, Julian follows her there with intentions on marrying her, but takes the next airplane back to the states when he feels Caroline still cares for Gregg enough to help with his financial business matters. Though Caroline and Julian get together again, Allison, who hates Caroline, does what she can to scandalize her good name, showing Gregg the type of woman he married. Others in the cast include: John Wray (Clark Davis); Walter Walker (Dante); Sam McDaniel (Max);' Berton Churchill (Judge Bradsha); and Virginia Verrill (Singer of "Trying to Live Without You").

As much as Bette Davis excelled in playing unsympathetic characters in some of her later films as OF HUMAN BONDAGE (RKO, 1934), the meatier role here actually goes to Adrienne Dore, the young blonde who takes a woman's husband away from him and falls out of love for him after her marriage to him. Yet is is Davis who's career prospered for the studio while Dore drifted to obscurity. Yet, for a Ruth Chatterton movie, this production is agreeable high society material.

Short and sweet at 71 minutes, THE RICH ARE ALWAYS WITH US is of sole interest of young Bette Davis early in her career. Yet it is a good way to rediscover its now forgotten star, Ruth Chatterton, best known for her oft-revived DODSWORTH (1936) starring Walter Huston, in one of her lesser known gems. Available on DVD and cable television's Turner Classic Movies should indicate films such as this are always with us. (**1/2)

An EARLY bette davis film that no-one has ever heard of. she had only been in hollywood about a year. This one stars Ruth Chatterton and George Brent. The rich get in and out of marriage, almost on a whim. Hijinx follow.... history remade, since chatterton and brent actually WERE married for a bit. Great trio of lead actors. Davis WON a couple oscars over the years, chatterron was nominated a couple times, and brent was pretty good himself. It's a silly little pre-code talkie, a fun, fluffy little period piece, taking place over thirty years. Directed by Alfred Green, who had started in the silent films. This one must not be shown very often, as it doesn't have many votes on imdb.

Although the film reads as a fairly typical marriage / divorce romance film, Bette Davis stands out as a feisty third wheel to George Brent and Ruth Chatterton. She is at her most playful and spirited in the scene in Brent's apartment before he leaves for Europe. Wonderful stuff.

It seems odd that so many films made during the Depression were about rich, pretty and sophisticated people. After all, with 20% of the population out of work and wages incredibly low, you'd think the patrons in the theaters would grow sick and tired of these fancy stories. But, despite this, the major studios made tons of films involving the lives of the rich and successful. Perhaps it was all escapism....with the average folks looking at what life COULD be like if.

In the case of "The Rich Are Always With Us", the film not only is about these rich folks but has a very healthy dose of Pre-Code sensibilities as well. What I mean is that before July, 1934, the studios often made movies with incredibly adult themes. Adultery, abortions, insanity, homosexuality and many topics which became taboo with the new Production Code had been pretty common in the years leading up to 1934. For example, the film actually uses the word 'sex'--very unusual even in the Pre-Code era....and it also treats marriage in a rather cavalier manner...one not allowed in films only two years later.

Caroline is an incredibly rich woman who is married to Greg. Despite this, she hangs out a lot with her male friend, Julian (George Brent) and Greg hangs around with Allison. The difference is that Caroline and Julian see it all as harmless flirtation...but Greg and Allison are actually lovers. When Caroline discovers this, she is incredibly understanding (too much so!) and encourages the pair to marry...and she's soon off to France to get a divorce and get Greg out of her system. Following the divorce, Julian arrives in France and asks Caroline to marry him...though she hesitates and he leaves. He's not about to beg her and is going to get on with his life. He ends up spending much of his time with another lady on the rebound (Bette Davis). And as for Caroline, it's difficult to say WHAT she wants. She ends up persuing Julian...but also starts spending time with Greg! What's to become of this...especially when Greg's new (and incredibly jealous) wife gets involved?!

As you watch the movie, it's very likely you'll feel like the characters are all being too polite and sophisticated. Normally, you'd expect divorcing people to hate each other or harbor SOME ill feelings....but not during most of this film. Caroline later DOES show some feelings....and keeps them to herself. After all, it wouldn't be polite to get angry!

So it this any good? Well, although it's hard to connect with and care about these people, the acting and direction were very good. Also, the ending is pretty limp....and really seemed a bit contrived. Overall, just an okay time-passer....and it should have been much better.