Il segreto di Nora Moran

I like (many) pre-code movies, simply because you never know what might happen. Quite a contrast to the formulaic stuff that was produced after 1935 (approx.) and, for those who think the 'Hayes' code is dead, the assembly-line production of rom-coms since 1990 rigidly stick to the same drivel: about 20 minutes from the end, a disagreement causes the intended couple to split, but miraculously re-unite by the final curtain. Nauseating.

Sins of Norah Moran is a bit melodramatic in places, esp. in the early going, but Majestic Studios (one of the so-called 'Poverty Row' film-makers, who rented space and equipment from the mainstream guys to keep costs down) weaved a melancholy tale here of a sad-sack orphan who grows up only to have the 'system' beat her down. She stands accused of murdering a former co-worker at the circus (he sexually assaulted her - a modern screenplay might have her nominated for Congress), and facing a death sentence. Her recent 'governor' boyfriend probably did it, but will Nora blow the whistle? I was struck by how the 'governor', a married man, cavorts so openly with this pretty young girl - were the 'Press' so under control during this era or was there just so much of this 'running-around' going on that the gov could hide in plain sight?

In time, he sees her at a 'kept' home every Friday & Monday - it kind of blows up when his wife finds a stack of unsigned love letters. The script makes no effort to condemn Nora or the Governor for their dallying, but, of course, it's poor Nora who will face severe consequences when the villain is suitably dispatched. Dang it-where's Perry Mason when you need him?

But that's pre-code: anything can happen. That's what makes it so interesting. Great camera work & use of flashbacks & voice-overs. Experimental. Unorthodox. Compelling. Kudos to TCM for reviving interest in this era. 8/10

MAJESTIC PICTURES in their short Hollywood production life 1930-35 made excellent small films using sets at other studios. This meant they could use those facilities and instead spend big on actors and crew. Without studio overheads their input concentrated on finding and using excellent A grade sets and costumes and facilities without owning them. As a result their films had an RKO or MGM look. Actors would be called to make a film at RKO and find it a Majestic title ensuring constant work on a big lot but maybe for a minor player. This allowed Majestic to get A tech and image at a bargain rate and not embarrass their desired actors. However in this film they even excelled themselves and most Hollywood majors studio style in creating a unique melancholy almost- noir nightmare of doomed love and honor... and all the emotional treachery that goes with it. Somewhere between SORRY WRONG NUMBER and DETOUR and overlapping time shift of PULP FICTION, this film THE SIN OF NORA MORAN uses those techniques and techniques of voice over, flashback and sad romance with equal parts hangman's noose, resigned fate and deceit. What a find! THE SIN OF NORA MORAN is a film school textbook of economic film making and could easily stand an upgraded remake today. Excellent! Treat yourself!. Good restored UCLA DVD too. Zita Johan in the lead part as Nora is simply exquisite and her melancholy tone throughout is most effective. Her sin? Being born.

Two viewings, the first on 9/3/2018 at the suggestion of YouTube. The initial experience was such that I revisited the film on the tenth. "The Sin of Nora Moran" is one of those not-quite-of-its time (or place) movies, with its use of layered flashbacks, contrasting first person narratives, and use of fantasy. In a little over an hour the movie delivers the narrative fullness expected from a much longer work. The contrasting stories, told in Rashomon-like fashion, deepen the reality of a paradoxically realistic (melo-)drama. A major artistic work, with techniques to be seen in "Citizen Kane" (1941), "Wild Strawberries" (1957) and even "Zentropa" (1991 - e.g., the two-scene featuring what appears to be a projected head of the heroine conversing with her governor-paramour). Apparently the film fared poorly with audiences at the time of its release. While its reputation has grown over the years, I must confess I had never heard of it before YouTube suggested it, and I'll guess that it remains unjustly obscure. If the film were from Europe it would probably be better regarded today, perhaps belonging on a double bill with Joe May's "Asphalt" (1929). This was one of many important cinematic discoveries I've made in the last few years on YouTube. I may see this again.

This film's not quite what you expect from 1933, the trailer boasts that it uses the famous 'narratage' technique from Preston Sturges's The Power and Glory, with Flashbacks and narration; then Flashbacks within Flashbacks. At just sixty five minutes the plot twists are great and the old fashioned dialog is really quite funny.

Made on a tight budget, it manages to look like a bigger movie using library footage and cleaver back projection. Overall well worth watching just for the novelty value.

THE SIN OF NORA MORAN (Majestic, 1933) directed by Phil Goldstone, with title inspiration to Metro-Goldwyn-Mayer's THE SIN OF MADELIN CLAUDET (1931) featuring Helen Hayes, is a low-budget production with high production values. Starring Zita Johann, a notable stage actress with few films to her credit. her characterization of Nora Moran offer her a very rare opportunity in a feature film performance.

The plot opens as John Grant (Alan Dinehart), a district attorney, is visited by Edith Crawford (Claire DuPrey), his sister, regarding a handful of unsigned love letters belonging to her deceased husband and governor of the state, Dick Crawford (Paul Cavanagh). Grant reveals the woman to be Nora Moran, age 21, in prison on death row awaiting her execution. Through flashback, Grant relates the sin of Nora Moran, Crawford's mistress, starting as a child of six where young Nora (Cora Sue Collins) is adopted by Mr. and Mrs. Moran (Harvey Clark and Aggie Herring). Following their deaths, the teenage Nora (Zita Johann) faces life of uncertainty. With the help of her good friend, Father Ryan (Henry B. Walthall), Nora goes on her own searching for work until eventually working for the King Brothers Circus under Paulino (John Miljan), a lion tamer. She leaves the circus after Paulino forces himself on her. While in New York, Nora becomes a chorus girl in musical shows, attracting attention of Dick Crawford (Paul Cavanagh), a man with political ambitions. She learns through Grant that Dick has a wife, but continues to show her love for Dick by preventing Paulino from ruining his political career through blackmail. Grant's story further reveals why Nora ended up in prison and awaiting execution. Also in the cast are Sarah Padden, Ann Brody, Syd Saylor and Otis Harlan.

I first saw THE SIN OF NORA MORAN when presented during the after midnight hours on New York City's WOR, Channel 9 back in 1982 under another title, VOICE FROM THE GRAVE. With Zita Johann, best known for co-starring opposite Boris Karloff in THE MUMMY (Universal, 1932), I assumed this to be another horror movie. I have never heard of VOICE FROM THE GRAVE and wanted to see what it was all about. After many years in obscurity, THE SIN OF NORA MORAN (title restored) not only turned up on DVD, but made its Turner Classic Movies premiere May 3, 2020, by this viewing refreshed my memory. Following the original theatrical title and opening credits, THE SIN OF NORA MORAN predated those film elements used frequently during the 1940s through its grand mix of film noir narrative, montage sequences, voice over thoughts, split screen changeover, non-stop underscoring, and slight dose of supernatural overtones. Coming from an independent movie studio as Majestic, THE SIN OF NORA MORAN works surprisingly well through its then unique method of storytelling told during its 64 minutes. Aside from THE POWER AND THE GLORY (Fox, 1933) starring Spencer Tracy, it makes one wonder if there are any other flashback narratives of this sort that have become virtually unknown to film scholars?

Regardless of this newfound rediscovery and interesting premise, it appears Zita Johann's legacy continues to remain more for THE MUMMY than THE SIN OF NORA MORAN. (**)