Femmes délaissées

"District Attorney Stowell" (Warren William) is a man who prides himself on the number of cases he has prosecuted that has resulted in the death penalty. But this notoriety comes with a price because, in order to attain these convictions, he has had to spend a great amount of time at the office--which puts a definite strain on his marriage. Needless to say, when he cancels a vacation at the last minute for a very important case, his wife "Lucy Stowell" (Gail Patrick) doesn't take it too well. Knowing this, he tries to make amends but in doing so he begins to suspect that she has found someone else, and this infuriates him beyond anything he has ever experienced. Even more ironic is that the case he is working on parallels his current situation. Now, rather than reveal any more, I will just say that this was an interesting film which had a decent plot but suffered from a mediocre script and a lack of suspense or passion. That's not to say it was a bad film by any means, but it certainly could have been better and for that reason I have rated it accordingly. Average.

I noticed one of the reviewers complained about Warren William's tendency to over-act. Well, as a fan of the actor, I tend to agree--he DID over-act--and I generally liked his bigger than life and devil-may-care persona. That is why I decided to see "Wives Under Suspicion"--I'd watch just about anything starring this now forgotten star. Sadly, however, this was not one of his better films and it isn't surprising--by 1938, William had moved from his very successful career at Warner Brothers to Universal (a must less prestigious studio at that time) and the budgets were clearly smaller and it showed.

The film begins with William as a gung-ho District Attorney. He lives to prosecute and convict people--and his marriage and personal life have suffered. All he really cares about is winning--and sending as many people as he can to death row. However, when the case of a man who murdered his wife in a fit of anger (Ralph Morgan) is given to him, eventually the parallels between this case and his own sad life became apparent.

I think the biggest problem with this film is that the cast was amazingly limp. Morgan and William were very competent actors, but here they were NOT at their best. In particular, Morgan has a scene where he is supposed to cry but it comes off very poorly--embarrassingly so. In addition, while the story idea is good, the direction and dialog is all either limp or overdone. Director Whale (who made quite a name for himself directing the first two Frankenstein films at Universal) had clearly seen better days and the film failed to impress. It really should have been a lot better given the neat story idea.

While this film doesn't seem to have impressed Michael much, I found it somewhat better than SINNERS IN PARADISE (1938) though, obviously, not quite in the same league as Whale's irreproachable horror output.

The film's plot, though essentially contrived, makes for a very interesting melodrama: actually, this was a remake of the same director's THE KISS BEFORE THE MIRROR (1933) and the only review I could find called it "tame and uninspired" when compared to the "more visually striking" Pre-Code original (that was apparently shot on leftover sets from Whale's own FRANKENSTEIN [1931]!) - all of which makes me want to watch the 1933 film even more...

Despite its 'B' picture status, however, the film is stylishly handled by a master craftsman (right from the opening credit sequence) with special care given to camera-work, lighting and décor - not to mention the recurring use of montages; in fact, the latter sequences - along with the hectic pace and the theme itself - recalled some of the social conscience films being made contemporaneously by Warner Bros.! Warren William and Ralph Morgan give solid performances and their scenes together - particularly the latter's confession and the subsequent trial - are certainly among the film's highlights. Unfortunately, however, as was the case with the blackface scene from Whale's own REMEMBER LAST NIGHT? (1935), the film's stereotyped depiction of William's black maid would, most probably, not go down well with today's audiences!

While I never really understood why certain directors needed to remake their own films, I'm certainly glad it happened in this case - particularly since the original doesn't seem to be readily available (a regrettable situation with regards to most of Whale's non-horror titles!), but also because his second stab at the story has certainly made for a pretty good film in its own right.

District Attorney Jim Stowell (Warren William) fears that he is neglecting his wife Lucy Stowell (Gail Patrick) in favor of his work. A case comes in. A man murdered his cheating wife. Jim starts to conflate the case with his own life.

This is a remake of The Kiss Before the Mirror (1933) based on a play. I'm not sure why they remade this so soon after the first movie. I haven't seen the other version. This should feel more cinematic or bigger. Something is falling a bit flat. I would like Lucy to play more into his fears. I still like the concept and Warren Williams. I probably need to see the original.

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.