-But the Flesh Is Weak

I'm a big fan of Robert Montgomery, whom I think paired best with Norma Shearer. In his early dashing leading man roles, he's like a princely powder puff, smelling of lavender. In this movie, "But the Flesh Is Weak," he's a sticking rose. Like a bee after honey, he pesters Nora Gregor in frame after frame. The movie became too sickly sweet for me midway, and I was wishing for more scenes with Montgomery and Sir C. Aubrey Smith, who plays his gambling father, surprisingly far more dashing than Montgomery in this film. My guess is that another viewing might be more pleasant. Nora Gregor and Heather Thatcher deliver solid performances and are dressed beautifully. Nils Asther plays an even bigger powder puff in this movie, but he's a delight.

Father son gigolo team Flavian (C. Aubrey Smith) and Max Clement (Robert Montgomery) wile their days away coming up with schemes to be wined, dined and supported by upper crust wealthy victims. Max however is swept off his feet by widower Rosine Brown (Nora Gregor) who he begins to relentlessly pursue in competition with other paramours. Finally getting her to capitulate he is suddenly forced to back out and marry someone else in order to save his dear old dad from jail.

There's a charming bounder like quality to both father and son in the presence of the suave Montgomery and the distinguished rascality of C. Aubrey Smith. There is an ease of rapport and affection between the two that makes Max's sacrifice a little less far fetched than it is and C. Aubrey's curmudgeonly Flavian with a twinkle or two left in his eye is impossible to dislike. Both also look like they were born to wear tuxedos and live from soirée to soirée. But there is an undertone of male chauvinism in The Flesh is Weak typified by the adolescent outbursts of Max chiding Rosine that leaves a bad taste. Rosine is treated like a child for being more of an adult than her accuser with the script enabling Max's petulant child and Nora Gregor's lack of confident English devaluing Rosine.

Heather Thatcher as a monocle wearing bohemian of title and money is the film's most interesting character remaining observantly aloof and on the periphery throughout giving bratty dead beat Max all the room he needs to have his self righteous tirades. For the sake of the film he should have been sent to his room.

I saw in this film a very touching familial relationship, between a father and his son. The son nearly sacrificed himself to save his father. So many commenters have absorbed the feminist view that abhors an aggressive male pursuing a female. Granted there are limits to how aggressive a man can be before he's reported to police for stalking. However, I think in this movie, the aggression was comically exaggerated and not meant to be taken seriously. It's just a movie (from 1932!) and the characters don't always need to be role models of correct behavior.

Here's a pre-code romantic comedy that today seems extremely politically incorrect in its depiction of male/female relations. It's derived from a play by famous U.K. matinée idol Ivor Novello, and he contributed both the screenplay and "continuity" to the film. I would think that female audiences today will find certain scenes and undercurrents offensive in their depiction of the male as the dominate force in a relationship. Anyone today viewing But the Flesh Is Weak would wonder as to the mentality of Novello, and his views on the female gender. I would think that his "hit-her-over-the-head-and-drag-her-away" clichés should had become outmoded even in the 1930's.

Anyway, Novello did rise to the occasion of providing an interesting entertainment, penning some nice dialog and creating some amusing characters. Film centers on young Robert Montgomery and his dad, C. Aubrey Smith, who are two sophisticated men-about-town in London. They are both seeking some rich noblewoman to provide their next supper, and they make the rounds by blending in with upper class society. After charming one difficult and eccentric lady play by Heather Thatcher, Montgomery's character quickly falls in "love at first sight" with a widowed socialite he meets the same evening at Thatcher's house party. Complications ensue, not aided by a catastrophic gambling debt run up by so-called "Senior," C. Aubrey Smith.

I have very high regard for Robert Montgomery, in his ability to be so affable, charming and easygoing. He's one of the great screen actors, and I never miss an opportunity to see one of his films. Just because he's so easygoing and charming usually is what makes him so effective when he become volatile, or even angry. He has a nice showcase here, even if the script seems now very sexist, almost worthy of disregard in that aspect of the plotting, since Novello's writing has Montgomery really and actually forcing himself on the leading lady. He not only refuses to take "no" as an answer, he even slaps her and kicks her out of a moving vehicle! Mongomery's work here shouldn't be dismissed though, and both him and great character actor C. Aubrey Smith make the movie enjoyable. There's a scene early on with them in a small bathroom that's a two-shot containing both actors. Smith goes through some elaborate business in clipping his mustache, but it's all for naught, since right next to him is Robert Montgomery stripping out of his clothes to take a bath. Poor C. Aubrey would have to have been well aware that all eyes would be on Montgomery.

One weak element in the movie is leading lady Nora Gregor, a heavily-accented European import who appears to be out of her depth here. She isn't very pretty or charming enough to cause Montgomery to fall instantly head-over-heels in love with her, and she accomplishes very little to make her character memorable.

Much better is the support from Heather Thatcher, as a monocle-wearing socialite with some eccentric habits, a good heart and designs on Robert Montgomery. She's offbeat and very likable, with her scenes being such highlights in the movie, that it's disappointing the offhand way the film dismisses her character. Nice comic relief comes supplied by wonderful Edward Everett Horton as a rival suitor of Nora Gregor and there's also silent film star Nils Asther who's perfect as a decadent and lascivious European prince.

Pre-code fans will surely get a kick out of But the "Flesh Is Weak." *** out of *****

I love Robert Montgomery movies and pre-code. But this entry is lacking in too many ways. It is tiresome to the point of Robert Montgomery (who tries to be funny and fails) comes off as a nuisance at the best and a stalker at the worst. The movie moves very slowly and there is nothing likable about any of the characters. Just because is an old movie does not make it a 'classic'.