The Rich Are Always with Us

Although the film reads as a fairly typical marriage / divorce romance film, Bette Davis stands out as a feisty third wheel to George Brent and Ruth Chatterton. She is at her most playful and spirited in the scene in Brent's apartment before he leaves for Europe. Wonderful stuff.

An EARLY bette davis film that no-one has ever heard of. she had only been in hollywood about a year. This one stars Ruth Chatterton and George Brent. The rich get in and out of marriage, almost on a whim. Hijinx follow.... history remade, since chatterton and brent actually WERE married for a bit. Great trio of lead actors. Davis WON a couple oscars over the years, chatterron was nominated a couple times, and brent was pretty good himself. It's a silly little pre-code talkie, a fun, fluffy little period piece, taking place over thirty years. Directed by Alfred Green, who had started in the silent films. This one must not be shown very often, as it doesn't have many votes on imdb.

When I first got this movie, I didn't watch it right away, thinking that, most probably it was a light comedy drama movie, but the actors interested me, especially George Brent and Bette Davis. Knowing that, in this movie, starring Ruth Chatterton, who was married with George Brent at that time, was happened to be the movie where Bette Davis and George Brent fell in love, appealed to me. Later on Chatterton and Brent would divorce but Brent and Davis never married although they kept a relationship for quite long.

But when I saw this movie I realized what a great actress Ruth Chatterton was. And for a time when actors and actresses would say their line the best right and straight forwarded way, Ruth Chatterton speaks in such natural way, at times repeating one or two words in a sentence, as if there was no camera at all. Something that nowadays actors do, at times not so naturally.

Bette Davis still not being "caught" by the clever camera, appears very glamorous, beautiful and determined, but her eyes, alas, the camera doesn't really focus the moment she is sitting on a couch and looking to the right, slowly... what would made her later on "Bette Davis' eyes". Anyhow she is so wonderful here that Davis fans will really love her play.

The romantic scenes are very well filmed, and because everything seems so naturally sophisticated, Brent kisses and embraces with a great gentleman's style. What he was in real life.

This movie's plot is very simple, but it is very well portrayed and love has a great importance as a meaning, like in so many classic movies. Only that in this one, love goes beyond "you and me"

... in which even "the poor writer" (George Brent as Julian Tierney) has posh roomy quarters and a full time servant in the person of Max (Sam McDaniel, Hattie Mc Daniel's brother).

In 1932 Warner's capitalized on their recent raid of Paramount's talent to put one of those stars (Ruth Chatterton) in the kind of drama that she did so well - playing a woman of means in the Great Depression that the average person could relate to and even find likable. Here Ms. Chatterton plays Caroline, born "the richest girl in the world". At age 20 she marries successful stock broker Greg Grannard (John Miljan). Then the film fast forwards to ten years later. Caroline is enjoying a rather robust flirtation with writer Julian. Julian wants it to be more, but you get the feeling that Caroline, although fond of Julian, is just doing this to feed her vanity and assure herself that she is still desirable, that she doesn't really want to upset her life as she has been living it all of these years.

It would never occur to her that her husband might feel the same way. He too is carrying on with someone else - the bratty Allison, who, unlike Julian, is not respecting of her lover's desire to leave things as they are. She lures Greg into an embrace where Caroline is sure to spot them and it leads to Greg being granted the divorce that Allison wants him to get so she can get her hooks into him. Complicating matters is Bette Davis as Malbro (wherever did they get that name???) as a socialite who wants Julian at any price and I mean that literally. One of Malbro's selling points to Julian is that if he married her he wouldn't have to work anymore.

I found the story interesting and the performances superb. Chatterton especially shines in the scene where she, her husband, and Allison are discussing how to go forward - divorce, open marriage, end the affair - after she spots Allison and Greg together. She gives the part and the scene the dignity and the subtlety it requires to be believable. All through the film, even after the divorce, she struggles with her desire for continuity - represented by Greg who is still very much in her life - versus her desire for passion, represented by Julian, who wants her to cut off ties with Greg entirely and marry him.

Even in such a small part you see can see what made Bette Davis great. When she turns into a ball of fire on screen in the few scenes she had center stage you can see how she blew the frost right off the first generation of talking film actresses. An interesting aside - the iconic moment in "Now Voyager" where Paul Henreid lights two cigarettes in his mouth and passes one to Davis was actually done here first. This time it is in a moment shared between George Brent and Ruth Chatterton.

Where in the world did the screenwriters come up with such a first name? It is attached to the flirty character very well played by Bette Davis.

Ruth Chatterton was always good. She and Davis are both rich (though exactly what the origin of the axiom in the title is, I'm not sure.) She is married to an insufferable stuffed shirt. George Brent is also interested in her. Why she wants to stay with her husband is unclear. It's not as if he's faithful.

Chatterton is not well served by the film. She is costumed and made up in a highly unflattering way. Superb film actress though she was, even in 1932, she was no spring chicken. And the movie is filmed in a way that accents this.

The situations are a tiny bit racy but don't accept an ooh-la-la sort of pre-Code movie. It's a drawing room comedy of a second- or third-tier. Davis's character's name is probably the most memorable thing about it.