Jewel Robbery

"Jewel Robbery" reflects the comic virtuosity of actors and actresses - and directors - in an eclectic Hollywood too soon to be stifled by THE Code. Kay Francis, little known to most movie buffs today, sparkles as a liberated, adventuresome and bored wife of a doting, not doddering exactly, but boring rich hubby. Apparently only his largess keeps her hitched and she seems quite open about looking for some exciting liaisons and she ain't talking about platonic ones either. The sexual innuendos aren't subtle. Neither are they serious.

William Powell is a suave and quick-witted gentleman jewel thief. In one sentence he dismisses the violence of his American counterparts, asserting the urbane civility of the European high class criminal.

"Reefer Madness," one of Hollywood's all-time great comedies, came out in 1937. In 1932 Powell, the jewel thief, dispenses marijuana cigarettes left and right and although the name is never used, the goofy behavior of the smokers prefigures the exaggerated and demonic grass-induced St. Vitus dance of the later documentary.

A short, sprightly comedy where crime is neither dangerous nor particularly even objectionable, "Jewel Robbery" is a small gem from a long bygone Hollywood. If you can rent it, do so. You won't be disappointed.

"Jewel Robbery" is a movie made by grown-ups, written for grown-ups and starring grown-ups. This one almost qualifies as a costumer as everyone is in 'evening dress', this being 1932. It aired on TCM the other morning and I can't tell you what a refreshing break it was from what passes for modern comedy.

Do you like William Powell? Here he was never more debonair and urbane, not even in his Philo Vance pictures or as Nick Charles. Are you familiar with Kay Francis? She was so - what's the word - 'feminine' will do. Yes, that's perfect. And together they were perfect in this Pre-Code comedy which keeps you waiting for the next exchange of delicious dialogue.

He is a gentleman thief and she is a bored wife looking for excitement, adventure, etc. The story is clever enough but the script is the thing here. Truly, they don't make films like this anymore. Adam Sandler, you have no clue, son. This is sophisticated stuff.

'Jewel Robbery' is only the 2nd picture I have given a 9 to, and it was richly deserved.

A bored Baroness discovers love & excitement when she becomes caught up in a thrilling JEWEL ROBBERY.

Scintillating, light as air and slightly naughty, this pre-Code charmer will delight discriminating viewers looking for a sophisticated comedy, a little trifle with which to while away an idle hour. Thievery, marijuana and infidelity--while very serious subjects--are here satirized almost to the point of insignificance. The whole purpose of this forgotten film--which compares nicely with the best of Lubitsch--is to provide the audience with a good time, and in that it succeeds quite admirably.

Beautiful Kay Francis is enchanting, her cool demeanor barely concealing the mischievous passions just below her elegant surface. Very bored with her wealthy but unattractive husband (Henry Kolker), she yearns for a more exciting life. Gentlemanly thief William Powell provides that opportunity. Suave & debonair, he instantly makes the viewer forgive his regrettable vocation. As a twosome, the stars bring just the right frisson of pleasure to their scenes to please all but the most jaded viewer.

The supporting cast further adds to the film's fine distillation. Hardie Albright as Francis' admirer & Helen Vinson as her friend both portray willing partakers of Old Vienna's hedonistic lifestyle. Spencer Charters is very humorous as a completely incompetent night watchman. Sour Clarence Wilson plays a police official, while Alan Mowbray shines in his few minutes as a no-nonsense detective.

Movie mavens will recognize rotund Robert Greig as a chauffeur, tobacco-eating George Davis as a police secretary & the wonderful Ruth Donnelly as Miss Francis' maid--all uncredited.

Jewel Robbery (1932)

If you haven't seen why Pre-Code films are a riot—and very very well made— watch this one. Here the sassy, sexy, glammed up heist of a jewelry store becomes a game of manners and courtship. Jewels do in fact get stolen, but that's so not the point of the movie.

Centerpiece is William Powell, the superstar status still to come with his "Thin Man" and "Godfrey" roles. He's in top form, always a bit peculiar but really lovable and suave because of it. One of a kind.

Equal to him is Kay Francis, who is alive on screen like few actresses, and a great foil to Powell's cool. If Powell is still famous, Francis is not, and the reasons are not clear. (She was labeled "Box Office Poison" in a famous 1938 article, but that same piece labeled Joan Crawford and Kate Hepburn as well, both of whom had hardly begun their mature careers.) But Francis is a wonder in her heyday and you may as well start here to get why. (She was for years in the 1930s the highest paid actress bar none.)

So if you aren't convinced to see this yet, take the set design, the tightly engineered photography and editing, and the overall direction by William Dieterle, who is an underrated master of the classic Hollywood years. Again, just see this for proof.

As for the Code and its effect here, listen to the banter, which is fast and loaded with double entendres. No one skips a beat, and the fast swirl never gets confusing. Really a remarkably packed 70 minutes.

This is a sparkling and witty fantasy about a pampered society dame (Kay Francis) who has become aware of the hollowness of her life and a dapper jewel thief (William Powell) who steals her treasures and awakens her from her golden tedium. I call it a "fantasy" because, sadly, we've become too aware of how real crime and criminals work. There's no effort to conceal faces, the robbery crew addresses each other by first name, Powell plays soothing music and engages in witty banter with those he's robbing, but nonetheless it's very entertaining to watch. Another odd aspect of this unusual film is that Powell gives his victims marijuana cigarettes to smoke, to make them passive and jovial. This is one of those pre-code films from that tiny window where sound had come in, the depression was on and the Production Codes weren't re-writing movies like Jewel Robbery. See it when you can. Like the object of it's main character obsession, it is truly a gem.