Madame et ses pantins

In her middle-age, the charming comedienne Constance Bennett, a big star in the early 1930s, both starred and produced this 1948 post-war film. Her company spared no money on this film's excellent production values. Released by Allied Artists, once Monogram, this doesn't look at all like one of their usual cheapies. The sets and set-dressing, the casting of all major and minor roles, are up to the best big studio standards, particularly in the unusual shadowy B&W cinematography of Stanley Cortez, best known for similar lighting in The Magnificent Ambersons. Sadly, despite the many excellent talents involved before and behind the camera, it all doesn't go together. The Russian-born director, Edward Blatt, does a competent job, but it's not his fault. Blame it ultimately on a script that tries too hard to mix romance, courtroom drama, suspense, and comic relief. Brian Ahern and Constance don't quite create enough heat to make the love story work. The rest of the film is just ordinary.

Smart woman... a great description for film star constance bennett herself! Chronologically speaking, she made this one about halfway through her career... 1948. Bennett is paula, an attorney and a mother. Co-stars brian aherne, barry sullivan, who were both huge film stars at the time. Keep an eye out for james gleason, who always seemed to play police captains... sometimes smart, sometimes dumber than rocks. Paula finds herself on the other side of a case from larrimore ( aherne), who is young and dashing. They fall in love, but are both dedicated to their roles as attorneys. Can they both stay true to their profession, and still be in love? It's sometimes over the top, but quite good. Highlights some basic truths about ethics, right and wrong. Good stuff. Directed by ed blatt. Only directed three films, and this was his last. Check out the bio on constance bennett... she really was an amazing lady.

A special prosecutor trying to clean up the town and a lady lawyer tangle in court, but get romantically involved on the outside.

Lowly Allied Artists (Monogram) assembled an A-list cast, pretty good production values, but then put a no-name director (W. Blatt) with all of 3 directorial credits in charge. The results are flatter than they should be, and I suspect his lack of a sure hand is partially to blame. Unfortunately, Bennett who can be quite sparkling is deadly serious here, somewhat out of sync with Aherne's lighter touch, while I suspect wisecracking O'Shea (Johnny) and the droll Gleason (Corkle) were brought in to liven things up. And, of course, on the sinister side there's that grinning old cobra Otto Kruger as the crooked D.A..

The plot's pretty complicated with an unexpected twist near the end. I couldn't figure out, however, whether the storyline was supposed to be a drama with comical overtones or a romantic comedy with dramatic overtones. Either way, it's a mild disappointment given the cast and battery of writers. (In passing—note that Bennett's lady lawyer wears a hat in court while defending her client. This may be the only time I've seen an officer of the court wearing a hat while court is in session. Nothing hangs on this; I'm just curious.)

Constance Bennett's career seemed to be on the skids by the 1940s, which saw her appearing in B-movies and supporting roles. By 1948, she was producing her own films (she also produced Paris Underground in 1945). Both of these films are well-made late career entries for a fading star.

In Smart Woman, Bennett is supported by a strong cast, which includes Brian Aherne and Barry Sullivan, plus a host of reliable supporting players such as Otto Kruger (whom I remember as the older man opposite Joan Crawford in Chained) and Selena Royle (also opposite Joan Crawford in Damned Don't Cry).

The script is intelligent if not a roaring success. The chemistry between Bennett and her co-stars does not run particularly hot, but Bennett does get a chance to wear some gorgeous Adrian gowns and prove she is still a good-looking woman at the (then) advanced age of 43. The photography is polished and Bennett seems to be lit and photographed very, very carefully. There are even some noirish camera angles and shadow play. Bennett's performance is strong and does not appear dated with any evidence of her days as a silent film star. Her style seems contemporary, although Bennett is no longer the hypnotic beauty of her precode heyday.

As Bennett's second production effort, it is a solid vehicle for her, and an interesting film overall, but it was just not powerful enough to give her career any boost. After this, it was all supporting roles. But the film can easily be recommended as a glossy, well-made women's picture. If the film had a low budget, it's impossible to tell.

It's a courtroom romance in Smart Woman, another pairing with Brian Aherne and Constance Bennet. If you liked them in Merrily We Live, catch them again ten years later in this smart comedy. Both star as lawyers put together in a high-profile case, but when they start dating, could it jeopardize everything?

This forgotten classic features a great supporting cast: Barry Sullivan, Otto Kruger, James Gleason, and Selena Royle. Otto is the defendant, and Barry is the head gangster in cahoots. James Gleason, in yet another homage to his beloved role of Max Corkle in Here Comes Mr. Jordan takes the same accent and the same last name. He's a detective who contributes a key ingredient to the case. Nearly every line out of Isobel Elsom's mouth is hilarious as she putters around like the biggest airhead since Spring Byington. After Brian Aherne goes sailing on his yacht rather than watching the scheduled baseball game, Isobel gets confused and says, "Baseball on a boat, what will they think of next?" I'd recommend this fast-paced, interesting romantic comedy, especially if you like the cast.