Confession

Kay Francis gives what is probably her best, most stunning performance in "Confession" - a near shot-by-shot remake of a 1935 Pola Negri soaper called "Mazurka" about a mother/singer who kills her former lover (Basil Rathbone) as soon as she finds out that he is about court her daughter (Jane Bryan). She is put on trial and asked to recount her story. This is a pretty much a routine "Madame X" weepie about maternal sacrifice but under the direction of Joe May, a German emigré who once collaborated with Fritz Lang in Germany, it becomes an amazingly stylish melodrama with sprawling narrative, expressionist outbursts, inventive camera movements, and interesting use of flashbacks. The final moments after the trial are tragic and sad. I love all Kay Francis' movies; "Confession", I think, is her very best.

The title for the film immediately makes one want to see it, and anybody that reads the plot summary are likely to find themselves intrigued. There were a couple of other reasons for wanting to see 'Confession'. One was the cast, have liked Kay Francis in a good deal of other things (though some are cases where she is better than the other) and am a fan of Basil Rathbone. Joe May was an important figure in his day but has been over-shadowed over-time by Fritz Lang by FW Murnau.

Which is a shame because May proved with the likes of 1929's 'Asphalt' that he could do great work. 'Confession' is another example of May greatness, one of his best. It has often been compared to 'Mazurka' with Pola Negri, namely because it has pretty much the same plot with similarities with that film's score, costumes and camera angles. This doesn't matter though, because 'Confession' is a great film in its own way and doesn't feel too derivative even with the similarities.

'Confession' is a little bit of a slow starter and the structure takes a little getting used to.

Once it gets going though, 'Confession' is excellent pretty much all round. It looks fantastic, not quite as visually innovative as 'Asphalt' but the visual style seen in that film is here too. The photography in particular is dazzling, with some truly inspired and atmospheric use of camera angles. The elaborate and very meticulously detailed settings and eeriness of the lighting can also be seen. The music score is haunting, the use of pre-existing music cleverly used.

May's direction is very accomplished, the best of it actually is so superb (especially on a technical level) that it really is a shame that he is not better known now. The script is intelligently written yet doesn't ramble or be too over-literate. The story is a slow starter, but from the twenty minute mark to the end it kept me on the edge of my seat. The final moments are very moving.

Francis is truly fabulous here, not just elegant but also at her most intense and the tragic aspects of her character are movingly conveyed. It is a strong contender for her best performance. Rathbone is great as usual, in a role with characteristics that he was always very good at doing to a high standard in everything he did. Jane Bryan, Laura Hope Crews and the ever reliable Donald Crisp are strong support.

Summing up, excellent. 9/10

"Mazurka", the German hit movie of 1935, was rethought by Julius Epstein, one of the best writers in the business. The film that resulted was "Confession", a vehicle created for the delicious Kay Francis, who was at the height of her fame at the time. Joe May directed this classic film that will endear itself to all classic movie fans. "Confession" packs a lot in its 86 minutes running time, something that would take a lot more of screen time in the hands of other, self-indulgent directors.

The film involves an older woman, Vera, who has had an unhappy life. She has been betrayed by the composer, and famous pianist, Michael Michailow, who abused her when she was young and full of life. That romance resulted in a girl, Lisa, who unknown to her, is being pursued by Michael Michalow himself! Supposedly, this story is based on an actual case that took place in Germany. It presented a different situation for American audiences, who were attracted by the unusual theme of the movie. We are all conditioned that crime must be punished, but in Vera's case, the killing is mitigated by what she is doing in order to protect Lisa, who is a naive, and decent, young woman.

Kay Francis does an amazing job in her portrayal of Vera. This is one of her best films and it shows the care which the whole project underwent to accommodate its star. Ms. Francis, wearing a blonde wig, sings and dances and makes a tremendous impact that dominates the picture from beginning to end. Basil Rathbone is perfect as the villain Miachel Michailow. The sweet Jane Bryant appears as Lisa. Ian Hunter is seen as Leonid and Donald Crisp does a fine job as the presiding judge.

They don't make movies like this anymore!

A remake of a 1935 film called MAZURKA and starring Pola Negri, Warners bought the rights and imported the story for Kay Francis, then the studio's #1 female star.

Francis is nothing short of sensational in this film, a story about a woman wronged, motherly love, honor, and sacrifice. By today's standards this all seemed like high fiction, but in the hands of Francis and director Joe May, this becomes a very stylish and absorbing film.

The direction and camera work are excellent. The music is also very good and helps set the scene. The supporting cast is very good also: Basil Rathbone, Jane Bryan, Veda Ann Borg, Ian Hunter, Laura Hope Crews, Donald Crisp, Robert Barrat, Ben Welden, and Mary Maguire.

Francis is stunning here, mostly as a blonde. And she's quite believable as a singer, although the operetta is rather lame. Still she does well with lip syncing to several songs. But she's never turned in a better performance, going from the girlish singer in love, to the bored housewife who drinks a tad too much at a party, to the accused in a murder case. It's a tour de force performance that should have earned her an Oscar nomination.

The film is beautifully directed by Joe May which is a surprise. A few years before this, May butchered a promising film version of the hit show MUSIC IN THE AIR which starred Gloria Swanson and John Boles. But here his direction is excellent, with lots of interesting camera angles and movement and some terrific composition. He certainly makes the most of the 86 minutes he has.

They just don't make movies like this any more. This one has a good story, crisp pacing, and stunning work from one of the decades biggest and most underrated stars: KAY FRANCIS.

1937's Confession was a huge hit for Kay Francis, who would soon find Warner Brothers trying to drive her and her big money contract out of the studio with bad scripts. I love when these studios have amnesia about the money a star has made for them.

Confession is a Madame X-type of film, with Francis as a tired, blond cabaret performer a la Dietrich on trial for killing a composer/conductor (Basil Rathbone). She refuses to say anything in her defense, but eventually, she tells her story. In flashback, we see the character of Vera as a young opera singer who gives up her career for love.

The studio treatment of "Confession" was similar to the treatment given "Algiers" - Warners bought up all the prints of "Mazurka," the European version of this film, and kept it from being seen outside of Germany.

Walter Wanger tried to buy up all the prints of "Pepe le Moko" when he made Algiers - fortunately, in that case, the ploy didn't work.

The cast is good, with Francis doing a great job as Vera. Rathbone is appropriately dashing and slimy as Michael.

Jane Bryan (who married Rexall Drugs and retired) gives an odd performance. Her character, Lisa, keeps saying that she doesn't want to see Michael, yet does.

That is understandable, but when she's with him, she acts miserable and like she doesn't want to be there. Not that I blame her, but why go out with him in the first place? She doesn't exhibit, for me anyway, the sexual desire and excitement that would make her nervousness and discomfort believable.

Very good film, recommended, especially for a stunning Kay Francis performance.