The Keyhole

Henry Kolker suspects his young wife, Kay Francis, of having a lover. She is taking ship to Havana. So Kolker hires PI George Brent to shadow her and get the goods on her. What neither of them suspect at this stage is that the real issue is that Kay Francis is still married to her first husband, slimy Monroe Owlsley. Her plan is to get a divorce in Havana. She doesn't expect Owlsley to follow her to put on pressure, nor to fall in love with Brent, and he with her. That's just the inscrutable workings of fate and the Warner Brother script department.

It was originally planned as another team-up between William Powell and Miss Francis. I expect it would have worked better that way. Nonetheless, Brent acquits himself well. So does Allen Jenkins as his assistant. He falls for b-girl and kickback artist Glenda Farrell in a nice little comic subplot. Still, the focus is on the leads, with Miss Francis sporting her usual variety of Orry-Kelly gowns and portrait photography by Barney McGill.

Kay Francis plays a woman being blackmailed by a former partner (Monroe Owsley). She discovers that he never got the divorce he promised and her new marriage is illegal. Hatching a scheme with her sister-in-law (Helen Ware), she flees to Havana, hoping the cad will follow. He does but so does the detective (George Brent) her husband hires to spy on her. Wild storyline becomes more believable as the film goes on because of the chemistry between Francis and Brent. Good support from Glenda Farrell, Allen Jenkins, and Clarence Wilson. This ranks as one of Kay Francis' best women's pictures of the early 30s--with One Way Passage and Confession.

You just need to see a few seconds of this and you know exactly what you're getting. It's the sort of movie that can only be an early thirties Warner Brothers: wonderfully corny, fast moving fun.

Did the writers sit around a table playing a game of 'who can come up with the daftest story?' In this lovely chunk of 1930s life, a millionaire tests his wife's fidelity by seeing if gigolo, George Brent, whom he's hired to seduce her can tempt her into bed..... and to pointlessly over complicate things, she's also married to someone else as well. Only in pre-code!

It's no classic but it is classic Warner Brothers, encompassing every trope you'd associate with that studio - great stuff! The cast is also the classic ensemble of cold-hearted rich folk, a slightly shady hero, Kay Francis doing the thing she always did, an idiot friend, a saucy gold-digger and a Captain Hook type villain - only the bumbling Irish detective is missing.

If you enjoy those cheap and tacky Warner pre-codes which are nevertheless professionally made (Michael Curtiz was in the chair here) or just watching Kay Francis doing what Kay Francis does, this should float your boat.

Kay Francis was always watchable. George Brent for me was more variable, but in the right role he could be good. Need to see more of Glenda Farrell's work, but in the not enough already seen she came off well. Haven't seen enough of Allen Jenkins either, but from what has been seen when his material was good and gelled well with everything else he was fine. Always have considered Michael Curtiz a fine director, am not going to say what films of his are favourites of mine as it will sound too much of a broken record.

While 'The Keyhole' is watchable and Francis (not unexpectedly) and Brent (was not quite as certain) come off well, it didn't strike me as a particularly great film. In my mind it's lesser Curtiz too, as it was not material to properly engage in and not enough of his style comes through, this had a still settling feel instead. Some good things here and they are actually quite great, but 'The Keyhole' also has some serious drawbacks that in my mind are even more obvious.

Francis is glamorous and sophisticated and never plays her role too heavily. Brent is very charming, giving one of his most suave performances, and has a strong presence. Their chemistry is witty, endearing and elegant as one expects typically from golden age romance, so the romantic angle of the story convinces very much. Monroe Owsley is suitably oily and Farrell is amusingly brassy. Most of the cast come off fine.

'The Keyhole' also looks lovely, especially Francis' gowns which she looks quite a sight in. The music fits well with the tone of the film without sounding stock. There is some nice wit in the chemistry between Francis and Brent and the story tends to go at a lively pace.

Despite that, the story is predictable and can be nonsensical. Capped off by a suddenly introduced and that's it ending that makes one go what. Curtiz's direction usually has a lot more spark and style than here.

Script is uneven, often sparkling with Francis and Brent but flat too much everywhere else. Also agree with not seeing the point of Jenkins' character and Jenkins feels too out of place.

A just above average film but not great. 6/10

THE KEYHOLE has a clear plot hook, strong characters (you love 'em or hate 'em), non-static cinematography and colorful details that keep you entertained from the first frame. A number of Kay Francis movies had a similar plot structure: wealthy, beautiful, fashionable, sophisticated woman with man problems, usually triangular, but in this case quadrangular. Michael Curtiz keeps this one moving at a fast clip. In this particular plot, Francis's nasty ex-husband (Monroe Owsley) is blackmailing her while her jealous, aging current husband (Walter Kolker) hires a dapper private eye (George Brent) to follow her to make sure she's not seeing another man and of course Brent and Francis fall in love. Allen Jenkins (as Brent's dopey sidekick) and Glenda Farrell (as a crooked golddigger) are on hand as comic counterpoint to the lead players. Francis is charming as usual, exhibiting her trademark "look" - the raven hair swept back to show off her natural widow's peak, the unique eyebrow penciling that curves around her melancholy eyes, and the statuesque grace; and of course her character goes through about 15 costume changes in the 69-minutes of running time (a different drop-dead outfit for every segment of the day). The public inevitably tired of her, which is why she is forgotten today; she was more interested in her salary than in the quality of her roles, as she freely admitted. But when she was in her prime, wow, what a prime. Moving with feline grace in backless satin gowns, she is phantasmal and ravishing, yet still earthy, accessible and even vulnerable. You can't look away. So what if she couldn't pronounce her r's?