Sinners in the Sun

This simple 1930s film seems to have the underlying theme that a person should be happy with their lot in life and shouldn't want more out of life--a reasonable less considering it was the Depression! When the film begins, Doris (Carole Lombard) and Jimmie (Chester Morris) are in love but to Doris there needs to be much more. This is because although Jimmie has a job, he's not exactly wealthy and she wants money and a fancy life. So, she dumps him and goes off on a search for a rich husband. Jimmie is angry and disgusted but eventually he goes looking for a rich wife. However, even though both have a cushy rich life in front of them, neither is happy.

The biggest reason to see this film is to see Cary Grant in one of his first films. He's reasonably good as a nice rich man but nothing more. As far as the story goes, I liked it but felt the fast run-time was a serious detriment. Because it went by so fast, the story felt more like an object lesson than about real people. But it still was modestly interesting and is worth a look.

This is a highly predictable story, which makes for a half-interesting film. It is almost as if the first scene between the main characters was already announcing everything that will take place. Doris and Jimmy love each other but he thinks they can marry without money, while she does not - and she does not trust him to be ambitious enough. As happens in Hollywood and not that often in real life, they are both soon offered occasions to climb up many steps at once through encounters with do-nothing millionaires - though Jimmy gets the better lot of the two as he is asked to marry, while Doris is not and finds herself relegated to the role of a half-official mistress. But in fact this difference is not that important - it would not be a real spoiler to tell how it all ends as anybody can guess it easily. Let us just say - in an elevator, as this is one of the amusing ideas in a film which manages to have a few ones, and occasionally crisp dialogues. These are the only times when Carole Lombard, who moreover is most of the time covered by heavy make-up making her look cheap, can really shine her true self and her abilities; at other times the film makes attempts, artificially and rather unsuccessfully, at a more melodramatic tone and she is visibly less at ease.

Sinners in the Sun (1932)

*** (out of 4)

Jimmie (Chester Morris) and Doris (Carole Lombard) are in love with each other but Doris wants riches and she's not sure Jimmie will ever be able to give them to her. They end up breaking up and before long she's in the arms of a married man (Walter Byron) while he finds himself married to a rich woman (Adrienne Ames). Before long Doris begins to think that money might not be everything.

If you're looking for a great or hard-hitting plot then you're not going to find it here. SINNERS IN THE SUN is pretty much a standard story of a couple poor people who think money is the answer and they have to learn that it isn't more important than love. This type of rags to riches story was quite popular during the early sound days and this one here remains watchable thanks in large part to a great cast of characters.

Morris has always been one of my favorite actors. He might not have ever became a huge star but I've enjoyed going through his career and this is certainly one of his better performances. At first he's style of speech and his delivery reminded me of Jimmy Stewart, although that actor hadn't yet even appeared in Hollywood. Morris gets a couple very good scenes including one where he lets loose on his former love and the actor did a terrific job here.

The rest of the cast is extremely good as well with Lombard doing a very good job in her role of the woman who wants gold, gets it and lives to regret it. She's very good in the role and quite believable whether she's playing that small town girl or the spoiled rich one. The supporting players are nice as well and this includes a young Cary Grant in his second screen appearance. He doesn't have much to do but his few scenes are quite good. Alison Skipworth also gets a couple very funny scenes playing Lombard's mother.

As I said, storywise SINNERS IN THE SUN is pretty silly and predictable but the actors make it worth sitting through.

A beautifully written and sometimes magnificently played serious movie. Chester Morris and Carole Lombard love each other, but she is terrified of the corrosive effects of the life of poverty that she foresees with Morris. So they break up and drift into lives as a kept woman and a gigolo.

The two are almost perfect in their roles; Chester Morris plays a character who is almost unable to phrase a clear thought and pulls it off beautifully, for a wonderful payoff scene. Miss Lombard only fails in one scene, towards the end, when she is contemplating suicide: I blame the heavy-handed direction of it rather than her performance. But the movie is riddled with wonderful performances: the always excellent Alison Skipworth as Lombard's supportive mother; Reginald Barlow as the father who gives her no chance; Adrienne Ames and Walter Byron as their likable seducers. Particularly good is Rita La Roy, an actress whom I have never noticed before, as a kept woman who kills herself -- alas, this was her best part in the movies, After her career faded out she sold yachts. Cary Grant is also present in a small role, in his second movie, but if you're not paying attention to the soundtrack you could easily miss him: his voice was far more distinctive than his good looks at this stage of his career.

There is a happy ending, but it feels forced. That is the one flaw in this movie. Otherwise it is well worth your time.

This 1932 pre-code Paramount Picture, based on a magazine story by Mildred Cram and directed by Alexander Hall, is best remembered today because it contains a bit of Cary Grant in one of the many stiff playboy roles he did before stardom. All in all, it's not much a story, entirely predictable, but as staged expertly by Hall the film does recreate visually the atmosphere of New York and Long Island society that Fitzgerald wrote about in The Great Gatsby a few years before. The actors are all particularly well-cast, down to the smallest part. (Look especially for a few moments with Anderson Lawler as a self-confessing gigolo.) Chester Morris (Boston Blackie) is for once throughly believable in a tough guy up from the streets role, but as usual it's Carole Lombard--she who could do no wrong--who steals the show and carries the picture. She's both lovely and touching and wears many a superb Travis Banton costume. A true star.