Incatenata

Forget the plot, as it's the typical 1930s love triangle. You've seen it all before, probably, but Clarence Brown adds his usual sure touch, and the plot unfolds satisfyingly. Crawford is at her most beautiful and glamorous in the role of Diane Lovering. Each scene is like part of a fashion show, with Crawford modeling the latest and greatest of 1934 fashions by Adrian. She is given the full MGM star treatment here, ala Garbo or Shearer. It was said that this was the film in which the cinematographer, and Joan, learned of the lighting which produced what we recognize now as the Joan Crawford face. The viewer can certainly tell in the stunning closeups. Gable is again playing dashing, robust, virile, and has plenty of clever dialog. It's not a standout role for him, but Crawford and Gable always create plenty of sexual chemistry to keep the viewer interested. Overall, CHAINED is an entertaining film, thanks to gorgeous art deco sets, costumes, fine performances by the entire cast, and the usual Gable-Crawford chemistry. The big stars, sex, and glamour manage to carry a fairly routine script.

Beautiful secretary Joan Crawford (as Diane Lovering) enjoys both working and sleeping with the boss, Otto Kruger (as Richard I. Field). Mr. Kruger wants to marry his willing mistress, but the wife refuses to grant him a divorce. To console a disappointed Ms. Crawford, Kruger sends her on a luxury cruise. On the ship, Crawford spurns "hot and bothered" Stuart Erwin (as John "Johnnie" L. Smith) at the bar, intending to be faithful. Then, she meets sexy rancher businessman Clark Gable (as Michael "Mike" Bradley)...

Will Crawford stay "Chained" to Kruger, or fall in love with Gable?

This is an MGM box office star power production, with Crawford and Gable doing what they do best. "When she's in his arms, it's the grandest thrill the screen can give!" Not quite, but director Clarence Brown and cameraman George Folsey handle the performers very well; the combination showed Crawford in her best light. Highlights include a fast stroll aboard ship, and a shimmering swimming pool sequence. The later includes young Mickey Rooney and pal Delmar Watson cavorting with Gable and Crawford.

****** Chained (8/31/34) Clarence Brown ~ Joan Crawford, Clark Gable, Otto Kruger, Stuart Erwin

Joan Crawford is "Chained" in this 1934 film, but alas, it's not to Clark Gable, but to Otto Kruger. Crawford and Gable were a wonderful team, and this is one of the eight films they made together.

Crawford plays a young woman, Diana Lovering, whose married boyfriend Richard (Kruger) is unable to get a divorce from his wife. She goes on a long cruise to South America and on the boat meets Mike (Gable), who has a horse ranch in Argentina.

And guess what. She feels that she needs to return to tell Richard that she's fallen in love with Mike. When she returns home, however, she finds out that Richard has gotten a divorce from his wife and had to give up seeing his children in order to do so. She then believes she's obligated to marry him and writes a Dear Mike letter. However, she and Mike cross paths again a year later.

There isn't anything special about this film, directed by Clarence Brown, except for the chemistry of the two stars. They made better films together - "Possessed" (the '30s one) and "Strange Cargo" being two off the top of my head. But I have to admit that I always love seeing them, and Crawford was so striking in those days, it's worth a look.

I was surprised when I saw this film because in all the films these two made, I don't think that either ever looked any better than they do in this film. Crawford was about 29 and Gable 33, and each was really in their prime. And the chemistry showed too.

I thought that the swimming pool scenes were especially interesting as one can easily take them very lightly. But the thought of actually acting, reciting lines and swimming back and forth across the pool is a lot easier said than done. Considering the number of scenes, I wonder how many takes it took to get that sequence filmed? It was also a good vehicle to get both stars in bathing suits for the time, and Crawford's is actually pretty revealing.

Some other reviewers believe that the Crawford character would not have wanted to stay with the Kruger character, but I thought that Crawford completely sold it. Not an unusual plot but a somewhat unusual ending especially for the time. Crawford could have come across as sleazy given her characters morals, but somehow she came across as noble, no easy feat, and a tribute to her ability. Gable? what can you say, he just had "it".

One to see for old movie fans.

Diane Lovering (Joan Crawford) is about to win the lottery by wresting away ocean liner CEO Richard Field (Otto Kruger) from his harridan spouse who refuses to give him a divorce. Needing more time to convince his wife otherwise he sends Diane on a lengthy cruise replete with maid and a stateroom the size of a small cafeteria. On board she meets Mike Bradley a rancher in Argentina who attempts to romance her. After slowly wearing Diane down she resolves to return to the states and break it off with Field but when she sees what the tycoon has sacrificed for her she goes through with the marriage. Wealthy beyond her wildest dreams and loved by a decent man she is still nagged by her decision when she bumps into Bradley at a gun store a year later.

Gable and Crawford never looked better in this above average entry of their numerous teamings together. In more than one scene we are treated to cinematographer George Folsey's cameras warm embrace of the handsome Gable and radiant Crawford offering concrete evidence of the icons they were and remain. The star wattage however is dimmed by the rational and civil discourse displayed by Field who maintains decorum throughout even in the face of possibly losing his new wife to Bradley. In addition Diane for a good chunk of the film has to check her passion as she attempts to keep Bradley at arm's length. But whether in conversation or a clinch these two sharing the screen together constantly reinforce Norma Desmond's Sunset Boulevard declaration about pictures with matchless chemistry.

Crawford, more restrained, sophisticated and understanding than in most of her roles gives one of the better performances of her career. Garbo director Clarence Brown might have had some influence in toning her performance down but for the most part he maintains a steady framing of the two leads struggling with coitus interruptus.

Otto Kruger as Field is decent and noble in the face of the calamity he faces, maybe too much to the film's detriment. Stu Erwin is annoying as Mike's flunky while Oona Mundsin as Diane's maid casts more glances than dialogue. There are brief moments of ethnic insensitivity with some at the expense of Akim Tamiroff who nevertheless gets the biggest laugh in this otherwise well mannered and tame romantic melodrama that succeeds solely on the merit of its well showcased charismatic leads at the top of their game.