Femmes délaissées

District Attorney Warren William works so hard he neglects wife Gail Patrick. He's ferociously prosecuting a case against Ralph Morgan, accused of killing his wife. Morgan's lawyer tells him it was temporary insanity and wants to bargain it down to manslaughter. Warren laughs at the deal. Then he comes to believe his wife is about to leave him for a lover.

Based on a play by Ladislas Fodor, director James Whale had already made this story as a pre-code, THE KISS BEFORE THE MIRROR. William plays this like he's playing Caesar for Demille. It's an uneasy set of volumes, playing it immense while cross-examining a defense witness, then minutely observing a small detail, then laughing amiably with his office staff. I think he and the director were trying for a manic-depressive character, but William was always deliberate and mannered in his performances. As a result, it's one of those movies that is fascinating to watch, even if it doesn't work. With Cecil Cunningham, Cnstance Moore, William Lundigan, Samuel S. Hinds, and Jonathan Hale.

Walter Huston famously said that he wasn't paid to sell good lines, but to put across bad ones. He often did. So did Warren William. For both of them, putting across bad lines frequently involved overacting. It's a bit difficult to believe WW being overcome by passion of any sort, and especially any aroused by his boring (though gracious) clothes-horse of a wife (Gail Patrick) in "Wives Under Suspicion," the tame and uninspired 1939 remake by James Whale of his more visually striking "Kiss Before the Mirror" made only five years earlier, but, presumably, too risqué to be rereleased after the Motion Picture Production Code began to be enforced.

Frank Morgan switched roles from defense attorney in the first to defendant in this one, and, unfortunately, Gloria Stuart and Walter Pidgeon did not return. The story is mechanical and has coincidences that strain credulity, but Warren William gave it his all. The only interesting touch was the courtroom set with the judge raised to an exaggerated height.

I tuned in to catch that great patrician actor from the early 30's, Warren William. A commanding presence in every respect, too bad he's become so obscure. I expect his early death, 1948, has something to do with it. Then too, his best films-- Employees Entrance (1933), Skyscaper Souls (1932), Three On A Match (1932) -- were all pre-Code and as a result never turned up on censored TV for decades. Now, thanks to cable, they're run on outlets like TCM. So be sure to catch them if you haven't already.

Anyway, this programmer from Universal has a good premise, the humanizing of an egotistical DA (William), who counts his capital-case wins on an abacus that uses miniature skulls as a counter. Worse, he's sorely neglecting his patient wife (Jackson) who's slowly running out of patience, but he's too self-absorbed to care. But then the McAllen case comes across his desk and the ironies with his own life begin to intrude. Will his self-enclosed bubble now be enough.

Overall, the results are rather tepid despite the promising elements. Ten years later and the film would likely have gotten a noir treatment. Here, mood is largely missing, while suspense is slow to build, but does have one good unpredictable showdown scene that had me guessing wrong. Truth be told, I'm afraid many lesser performers could have handled the DA role, it not being one of William's showcases. In short, the DA is one of the typically conventional roles he was reduced to during the Code era. Also, the ethnic humor from the Butterfly McQueen-type maid reminds us that it's only a movie, after all.

Overall, there are gripping moments; however, the 70-minutes fails to come together in strong fashion despite the many promising elements. Too bad.

(In passing-- old time TV fans may recognize Milburn Stone as Doc from the classic western series Gunsmoke, along with Gail Patrick (Jackson) who successfully produced the prodigiously demanding Perry Mason series with Raymond Burr.)

Wives Under Suspicion from 1938 is a remake of a film called The Kiss Before the Mirror. Directed by James Whale, it's not his best.

This version stars Warren William, Gail Patrick, Ralph Morgan, William Lundigan, and Constance Moore.

William plays a hanging prosecutor, Jim Stowell - he has an abacus with skulls he moves over when he sends someone to the chair. He is not a pleasant guy. His wife Lucy (Patrick) feels alone, as he is dedicated to his work. He does love her and promises her a big vacation.

It doesn't happen because of a big case - a man (Morgan) who found his wife with another man and kills her. He tells the most pathetic story imaginable, and it's recorded. The minute he's taken away, Stowell laughs, dismisses his story as garbage, and plans on getting him the chair.

Lucy is extremely moved by the man's story and feels she doesn't know her husband any longer. Stowell becomes jealous of her platonic friendship with a young man (Lundigan). One night, he sees them talking and rage builds up inside him. He suddenly sees what he has become.

William is a favorite of mine; he always turned in a good performance. Beautiful Gale Patrick is lovely as Lucy - she of course became Gail Patrick Jackson, the producer of the Perry Mason series. Ralph Morgan was a very sympathetic defendant.

The performances helped to hold interest.

This is a truly original story. Granted, it was done in 1938, but I haven't seen anything quite like it since. That's unusual for Hollywood.

Warren Williams is an obsessed District Attorney who is incapable of any human feeling toward the people he prosecutes. And then a case comes along. A refined, educated, teacher kills his wife in a moment of mad jealousy. Warren has no mercy for him. Coaxes him into a confession with the ultimate goal of executing him.

The gimmick in this story is that, during the trial, he realizes that he is living a parallel life. He has neglected his own wife and come to believe that she is having an affair. After following her to a friends house, he finds himself with a pistol in his hand - a perfect parallel to the case he is trying. It changes his life.

Warren Williams has a tendency to overact, but to hear him bellow in the courtroom, and cackle with glee when he pulls one over on his adversaries, is not to be missed. There is one caution. Is it possible to be too sophisticated? All the other actors are unremarkable, with the exception of Lillian Yarbo who plays the maid. Her lines and expressions are priceless.

If, like me, you long for the days when Hollywood took the time to actually write a coherent script. A time when dialogue really meant something. A time when you second guessed the story and paid attention to the actors - instead of the special effects, take time out for this one. If you can find it.