Hearts Divided

Hearts Divided is a historical romance starring Dick Powell and Marion Davies. The two live during the Napoleonic era when France was trying to sell Louisiana to the Americans and the French Revolution was brewing. Powell and Davies' characters meet accidentally at a horse race and begin a glorious romance almost immediately despite their multiple scuffles. He becomes her tutor for music, French, and fencing. Her family does not approve of their romance because they are distinguished and he is a lowly tutor, but Davies responds to his advances. The two are separated but brought back together and it is discovered that Powell is not an average citizen at all; he is the brother of Napoleon. A wedding is planned but it is Napoleon who does not approve this time.

This film is typical of Marion Davies for it not only has the ability to show off benefactor William Randolph Hearst's many historical items and costumes, she is able to show her natural spunk and joviality. Powell responds in kind with his lighthearted cracks and beautiful smile. The two work well together and shine in their own rights.

There are also a few catchy songs sung by the gorgeous tenor voice of Dick Powell.

With their HEARTS DIVIDED by international politics, can a pretty American girl and the brother of the great Napoleon ever find true happiness?

This good-natured romance film has been rather harshly criticized as being bad history, which it is, instead of being appreciated for its simple aim to provide some escapist amusement in the form of a lavish movie starring Marion Davies. In this it succeeds. William Randolph Hearst, Davies' powerful lover, saw to that, and what Hearst wanted he generally got. Although the plot is exceedingly silly at times, the film is still a pleasant entertainment.

At 39, Davies was too old for the part (and older than her costar by seven years), but Hearst liked seeing her in the crinoline & lace roles, and she had little control of the matter. However, as was her custom, Marion charms the viewer with her buoyant spirits, willingness to please and genuine acting skills. She's more than able to hold her own with a talented supporting cast and appears quite happy to be in the arms of young Dick Powell. For his part, Powell needs do little more than exude boyish charm and sing a few times to cover his acting requirements quite nicely.

As Napoleon, the great Claude Rains steals every scene he's in by very quietly underplaying his acting and only hinting at the tremendous power his character wields. Fascinating to watch even under heavy makeup, Rains makes a quality contribution to the film.

The movie's humor is largely handled by a trio of excellent character actors. Droll Arthur Treacher, suspicious Edward Everett Horton & grumpy Charles Ruggles play Marion's erstwhile suitors. Constantly trying to upstage each other, their dialogue provides plenty of chuckles.

Even in minor casting the film excels. Dignified Henry Stephenson and sharp-tongued Clara Blandick play Marion's father and aunt. Walter Kingsford & diminutive Etienne Girardot play the French officials assigned to keep an eye on Mr. Powell. Halliwell Hobbes lends gravity to his small role as Napoleon's Second Consul. Beulah Bondi brightens her single scene as the Bonaparte boys' kindhearted mother. And the magnificent Hall Johnson Choir appears to lift its voice in song for a few moments.

Time has not dealt kindly with Marion Davies. Almost forgotten today, when remembered at all it is usually as a sort of footnote to history or object of scandal. Her life certainly was colorful, and as chatelaine of America's most amazing private estate she did circulate amidst powerful circles. But to remember her as the bimbo blonde mistress of the country's mightiest media baron is patently unfair.

While much of the blame can go to Orson Welles' spoof of Davies in CITIZEN KANE (which he was to admit he regretted towards the end of his life) it must be stated emphatically that Marion was not a no-talent actress with few friends & even fewer brains, whose career was destroyed by her stammer leaving her to spend lonely years in great, hulking empty castles.

In reality, Davies was a bright, vivacious lady who charmed & captivated such diverse guests as George Bernard Shaw & Winston Churchill throughout her 33-year liaison with Hearst. Adored by her friends and a fierce cadre of fans, Davies was renowned for her tireless generosity and charitable good works. Her speech impediment never affected her screen acting and her undeniable talent was evident to any who were willing to assess her performances honesty and look past the scandal.

Davies had to have been embarrassed by the Hearst empire's relentless pushing of her career. She knew this left her open to ridicule & mockery, doubtless contributing to her scarcely concealed alcoholism. But she eventually relinquished her film pursuits in order to care for the aging Hearst, and after his death in 1951 she showed herself to be an astute businesswoman during the remaining ten years of her life.

It is only now, with the passage of much time & the restoration of her old movies, that it is becoming easier to acknowledge the contributions & cinematic expertise of Marion Davies.

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Jérôme Bonaparte (1784-1860) was only 16 when he entered the service of Napoleon as a member of the Consular Guard. After being wounded in a duel he transferred to the French Navy. Leaving his ship in the West Indies, he entered the United States, (Jérôme was not involved in the sale of the Louisiana Purchase to America) where he fell in love with Elizabeth Patterson of Baltimore, Maryland. They were married on Christmas Eve, 1803. After returning to Europe with his wife in 1805, it was discovered that Napoleon had annulled the marriage and forbade Elizabeth to enter any of his domains. This decision was absolutely determinate. Elizabeth was returned to America and Jérôme was married to Princess Catherine of Württemberg and subsequently proclaimed King of Westphalia in 1807, which included a wide territory east of the Rhine in addition to the former province of Westphalia. He abdicated in 1813 when Napoleon's powers began to decline, but he continued to serve as a loyal officer fighting for his brother until the Battle of Waterloo brought total defeat in 1815. Jérôme then retired into self-exile and did not return to France until 1847, when he entered the service of his nephew Napoleon III, the son of his brother Louis. Jérôme would eventually serve as Governor of the Invalides, Marshal of France & President of the Senate.

First thing to do is to forget history (I will not argue with American history,but as far as French history is concerned,well..): No,they did not live happily ever after ,for the marriage was finally broken ,and Jerome had more mistresses than you could count.No,Madame Mère -who briefly appears to sweeten her offspring's relationship- did not probably intervene.

But it does not matter when you deal with Frank Borzage,my favorite American director of the twenties/thirties.To say he gave it his all is diminish this director ,because there was always more to give,another passion to plumb,another open wound that demanded he raises his voice ;no one depicted love (against the whole world) as he did.In consequence ,the best scenes are to be found in the second part of the film:Marion Davis ,"translating" the letter into English in a voice chocked with emotion;the scene on the ship where the unfortunate lovers raises their glasses before the bell ring -this scene is similar to the ones we find in "Humoresque" before the hero goes to war ,and in "Street angel" when Janet Gaynor says goodbye to his love (who does not know it's a farewell celebration).In "Hearts divided" the sequence is too short ,and somewhat ruined by the final scenes although the song and the wall are romantic stuff.

As everything Borzage did ,"Hearts Divided" is a movie which deserves to be watched.I will not rate it as highly as Borzage's true masterpieces ("Seventh Heaven" "Street Angel" "Little man what now?" "A farewell to the arms" "Strange Cargo" or the immortal "Mortal storm") though.

Imagine Dick Powell--the all-American charmer--as Napoleon's brother! Have him serenade--didn't you know Jerome Napoleon was a crooner!--Marion Davies, miscast as his beautiful young American sweetheart. Add a romantic score in an attempt to lend credence to their implausible pairing and you end up with this misguided misadventure in movie-making. Everything in this picture rings as false as the fake "Sicilian" nose pasted onto Claude Rains' face. The picture's premise is that Napoleon's brother threw away everything, sacrificing the opportunity to become a King by marriage--thereby extending Napoleon's empire--to marry his true love, sweet Betsy Patterson. Faithful to this vision, the picture ends with star-crossed lovers Powell and Davies--reunited after a "Hearts Divided" separation forced by Napoleon--in each others' arms once again set to live happily ever after in America. But the historical Jerome Bonaparte was in truth an opportunist who actually DIVORCED this first American wife in order to go through with the politically-motivated pairing and become King of Westphalia! The movie is a handsome production, but the script expects everyone to mouth the most ridiculous platitudes about class, duty, patriotism, "true love", etc. ad nauseum--all played straight. In the best Hollywood tradition, Dick Powell courts Marion Davies disguised as her lowly tutor, only to reveal his true "imperial" self after she casts aside all trepidation about marrying below her station. But who really believes that American society would hold the brother of a military dictator in such high esteem? All of the classic elements of a great Hollywood romance are here, only the plot and actors are really just going through the motions against this implausible historical backdrop--and we the audience aren't fooled one bit.

Marion Davies was a winsome, whimsical, and very pretty comedienne, with a slyly subversive personality not unlike Carole Lombard's. But her mentor and manager William Randolph Hearst preferred to see her as a clothes horse, in stuffy period romances. And so we have this sleepy costume epic, from a flop play by the author of "Naughty Marietta," where she's a Baltimore society heiress, with hair of a color no 1805 society heiress ever knew, who keeps smiling gallantly while her heart is breaking. It's a Norma Shearer sort of part, and Marion's noble suffering is equally uninvolving. She looks glum and too old for the role, and her romantic interest, Dick Powell as Napoleon's brother (!), looks equally unhappy. Claude Rains is an asset as the Emperor, as are Edward Everett Horton, Charlie Ruggles, and Arthur Treacher as her three other suitors (though the screenwriters might have come up with better dialog for them). But mostly it's Marion being noble--acting condescendingly nice to the slave labor, going from haughty to starry-eyed over Powell in record time, shedding glycerine tears, and advancing to an unlikely, logic-defying happy ending. Frank Borzage directs with his typical moonlight and magnolias, but even he doesn't seem to believe it, and Marion seems to be wishing she were in a screwball comedy.