One More River

This is a superior film, but its impact is attenuated by the great changes in social attitudes toward sex and divorce which have occurred since the time it was filmed. The conflicts and tensions in the story could only occur today in third world nations or very religious communities. Thus, most American viewers can wonder what all the excitement is about.

Diana Wynyard is a revelation. When the film began, she appeared a bit on the plain side. However, she became enchantingly beautiful as the movie progressed. Her soft, pleasant, kind features and the exquisite shape of her head and body impressed me more and more, as did her calm manner and then her assertive testimony in court.She became irresistible.

Universal gave this a veneer of a prestige production. It looked like it was shot in England, except that most of the English performers were already old Hollywood hands. Jane Wyatt wisely didn't try for an English accent. Whales' direction was seamless, but not as flashy as his more famous horror productions. He kept things moving briskly.

This is one of Whale's favorites among his own works (the director even gave himself an uncredited bit!) but which he only got Universal to bankroll by accepting to helm another fantasy project for them, the subsequently aborted "A Trip To Mars". Anyway, this obscurely-titled melodrama is based on John Galsworthy (best-known for "The Forsythe Saga")'s last novel – adapted by the equally distinguished R.C. Sheriff. It tells of the vicissitudes of a young wife (Diana Wynyard, fresh from an Oscar nomination for the previous year's Best Picture winner CAVALCADE), about to be divorced from her brutish husband (a brief but typically impressive turn from Whale regular Colin Clive), who unwittingly adds coal to the fire via her initially platonic relationship with a young man (Frank Lawton, soon to play his most notable role as the grown-up David COPPERFIELD [1935]). The narrative also has a strong political element to it, not just in view of the subplot involving the electoral climate (personified by Reginald Denny's newly-appointed MP), but in the heroine's emancipation from the rigid status quo pertaining to woman's role in society.

While undeniably dated, the film boasts splendid cinematography and sets (by BRIDE OF FRANKENSTEIN's John J. Mescall and Charles D. Hall respectively) – the latter would be memorably refurbished and re-used for the Mary Shelley prologue and the Baron's own abode in that very film…which rather suggests that the art director/set decorator's craft is not nearly appreciated enough! Apart from this, we get a truly remarkable supporting cast: lovely Jane Wyatt (as Wynyard's kid sister), C. Aubrey Smith (their father), Henry Stephenson (an uncle), the oddly-named Mrs. Patrick Campbell (hamming it up as his outspoken wife – apparently, she was like that in real-life too!), Lionel Atwill (the wily but pompous Prosecutor), Alan Mowbray (the defense counsel), Gilbert Emery (the genial Judge) and E.E. Clive (the other Clive's resourceful private detective).

Finally, the copy I acquired was sourced from an old TV broadcast off the U.K.'s Channel 4: despite a couple of intermissions for publicity spots(!), the quality is surprisingly adequate – much better, in fact, than that for most of the other Whales I have been watching lately.

One More River (1934)

*** (out of 4)

This James Whale directed melodrama is technically good and the performances are fine but I'd still rank it rather low in regards to the director's filmmography. A woman (Diana Wynyard) goes to England to try and escape her abusive husband (Colin Clive) and on the ship ride over has a nice man (Frank Lawton) fall in love with her. Even though her husband is abusive, she refuses to go any further with the new man and it doesn't take long for the husband to show up and cause trouble. ONE MORE RIVER was based on a very popular novel that of course had to be trimmed down for the big screen due to the production code going into full swing during this period. For the most part I thought the film featured some very good performances from its excellent cast and there's no question that it's rather impressive on a technical side. The biggest issue I had with the film was actually the pacing, which just seemed extremely slow to me and it really took forever for the film to finally pick up some speed. There's no question that the material is old-fashioned but this isn't the reason it goes so slow. Again, the best thing going are the performances with Wynyard really standing out as the abused woman trying to do what's right. Lawton is also good in his role as the man who loves her and Clive proves what a talent he was in just a few scenes. Jane Wyatt appears in his first role and we get good support from Reginald Denny, Henry Stephenson, Lionel Atwill and C. Aubrey Smith.

Saw this as part of Cinefest 2009 in Syracuse, and it was a revelation. Not that it doesn't stir high expectations: a Galsworthy novel, adapted by playwright R.C. Sheriff (author of the great antiwar play "Journey's End"), directed with great assurance by James Whale, and with a near-amazing cast. As an abused high society wife trying to wrench free of her extremely nasty husband, Diana Wynyard is ladylike and touching. A very young Jane Wyatt is her confidante, Henry Stephenson is a helpful lawyer relative, and Frank Lawton is the appealing young man who falls in love with her. All are upstaged by Mrs. Patrick Campbell, a formidable presence bellowing every line with relish, and she It's remarkably adult for its day, with a modern attitude about adultery (our heroine doesn't, but the movie seems to believe she should). It's literate and fast-moving, and sandwiched between Whale's "The Invisible Man" and "The Bride of Frankenstein," it's one of several examples of how assured he was outside of the horror genre.

A woman finds herself sued for divorce by the brutish husband who beat her with a riding whip. The kind of situation that would be unthinkable today but which was probably considered to be quite saucy back in the 1930s, despite the terribly proper tone of R. C. Sheriff's screenplay. When Dana Wynyard and Frank Lawton both gaze beyond the camera, and he says, ever so matter-of-factly, "You realise, of course, that I love you," it's impossible not to laugh. It's a pleasant enough watch, but it's tone is inconsistent and often inappropriately humorous