A Lost Lady

Lost Lady, A (1934)

** (out of 4)

By the numbers love story about a woman (Barbara Stanwyck) who turns very bitter and cold hearted after having a tragedy strike her life. One day she meets an elderly man (Frank Morgan) and he convinces her to marry him even though she warns that she can never love again. After the wedding however, the woman finds love with a younger man and must decide what to do next. Even at only 69-minutes this thing seems to run on and on. I guess the only real reason to see this film is due to the early performance by Stanwyck but she's not too good here. She's not bad but not good either since she's still learning the trade. Morgan steals the show but the screenplay doesn't allow him to do too much. Ricardo Cortez and Lyle Talbot have parts as well.

Warner Brothers (WB) release demonstrating what the studio system did right with these small dramas. Tight script and running time sixty-one (61) minutes did not allow any FAT. This was reinforced by a very competent cast led by Barbara Stanwyck and Frank Morgan, supported by Ricardo Cortez, Lyle Talbot with Rafaela Ottiano (maid as usual). Hobart Cavanaugh and Willy Fung provide comedy relief (as usual and thankfully brief).

Plot revolves around Stanwycks characters loss of love. Resurrection by the love of Frank Morgan. Temptation from first Lyle Talbot then Ricardo Cortez and redemption back to Frank Morgan. This is told in a brisk style that holds interest all the way through. It is a quick time soap opera.

It is great to see is Frank Morgan in a role that was more akin to his early stage presence. Most people only think of him as 'Professor Marvel' from THE WIZARD OF OZ, or some other eccentric character usually over acting. Barbara Stanwyck is looking very 'chic' in a role that would normally be played by WB clotheshorse Kay Francis. Ms. Stanwyck is not what you would call a conventual beauty, but there is something about her sex appeal that is irresistible. We can't exactly put our finger on it, but obviously Robert Taylor did.

No movie with the great Barbara Stanwyck is completely without interest, but there is little else to recommend this misbegotten movie. Willa Cather was so horrified at what had been done to her novel that she refused to sell any of her other books to the movies, and one can see why. The story, characterisations, time span, plot, and tone have all been changed, for the worse, in a trite Hollywood way. For example, the house in the book, which is a nice-size house whose distinction is the beautiful scenery around it, is here a huge mansion with the standard Thirties-mansion double-height curving staircase. Complex relationships in the novel are here so oversimplified as to be almost meaningless. The movie adheres to a post-Code morality, also very simple, good vs. bad, where the book was much more subtle and complex.

In what I think is the only case of this I have seen, Stanwyck has a different hairstle in every scene, which changes her appearance greatly. It makes you feel that trivial details like these, at the expense of consistency, are what most concerned the film-maker (Alfred Green-- who?).

A very good cast is well directed, but this film is practically hobbled by a pedantic, bowlderized script. The story concerns Stanwyck as a society dame whose fiance is shot by an angry husband on the eve of their wedding. Stanwyck is sent to the country to recover her spirits, and there attempts suicide (although the film actually shows her SLIPPING off the edge of the cliff) and is rescued by a gentlemanly older man (Morgan), whom she subsequently marries. Her affair with Cortez (who often seems to fill this undesirable role) consumes much of the rest of the film. Unconvincing conclusion adds to the mire that this film got stuck in.

Barbara Stanwyck is young and a lovely as a woman whose fiancée is killed by an angry husband just before their wedding. Embittered, she retreats to the mountains and finds healing in the affections of Frank Morgan, who plays a wealthy attorney who falls in love with her.

Stanwyck marries him, though explains to poor Frank that she doesn't love him. Their bedrooms, therefore, are across the hall from one another. With money, social standing, beauty, and being married, which makes her unattainable, Stanwyck soon finds the men are crawling out of the woodwork, including a very young Lyle Talbot and Ricardo Cortez, who lands his plane on her lawn.

Morgan and Stanwyck are excellent and give the story a very touching quality. One scene struck me as a little odd, censorship wise: At the beginning of the film, Morgan rescues Stanwyck from a fall. The next day, he walks by her house and pokes his head in her bedroom to see how she's doing. She's in bed, recovering. He's invited in. The maid leaves the bedroom and closes the door.

Either I'm getting too old or my sensibility is too modern, but I found this scene peculiar for 1934. I'd love to know how this got past the code since there was a big argument about "Frankly, my dear, I don't give a damn." An unmarried woman, in her pajamas, entertaining a gentleman caller in her bedroom. Oh, well.