Il mercante di illusioni

Funny seeing other reviewers complain about what this movie is not. Not that they are wrong; if you want a big emotional dramatic finish, you're better off with Gone With The Wind or Casablanca or a dozen other movies which do just that.

This could have been one of those movies, but it isn't; Upperworld is a gentler film. Watching this after, oh, Skyscraper Souls, immediately shows the difference: our central tycoon is not a man of steel and grit but a mere human being, trapped by his own success. He's a devoted husband and father to the extent his life allows; his wife is equally devoted -- and divided.

This trap is of course also a world of privilege, and Upperworld is interesting for highlighting the effect this has on others -- in this case, the policeman who makes the mistake of treating our wealthy protagonist as subject to the same laws as everyone else. Most movies would have this as central plot; an open/shut issue to either satisfy or outrage the viewer.

His driver tells us straight up that the best place to find a girl is not on stage but in a library. But his life doesn't involve libraries; chance encounter brings him a showgirl instead. Their subsequent friendship isn't based on extramarital desire but simply companionship. But (as we soon see) even that he cannot pursue without consequences.

So we have what starts out almost as romantic comedy. Made in 1934 but written years earlier, the Depression hardly registers. By the time Warren William and Ginger Rogers are singing by the piano, it feels almost like a deliberate effort to take us away from the man-at-the-top characters he was portraying in 1933.

By the middle, we've moved into more of a crime-story vein, as J Carroll Naish's character becomes more involved. What seemed like comedy becomes closer to tragedy.

While we are accustomed to seeing the last act of such a drama wrought with more flash and sizzle, legal procedure is actually more humdrum than movies usually make out; the gentle tension here is nicely carried in the slow-but-sure pacing, and Warren William's measured performance.

As I said at the top, plenty of movies have more explosive finishes. But Upperworld isn't so much about dramatic finish as showing that difficulties and disappointments exist even for the apparently successful -- trapped by their own success.

You are gently lulled into a simple, light hearted story but about half way through you find your your emotions are turned upside down as you're engrossed in something much darker with an unnerving tension to keep you on the edge of your seat.

What's refreshing, when compared with some lesser movies from this time is how well the characters have been written. Apart from Mary Astor who plays the wife with the coldness of alabaster needed to make the story work, the rest have a depth and complexity which makes them fascinating.

Warren William's multi-millionaire is a real person and like everyone has his faults but is essentially likeable. When he makes a wrong call, you get annoyed with him - that's the strength of good writing - you feel we know a character well enough not just to sympathise with them but to be angry with them because we don't want them to do.

The story constantly switches the way it asks you whether what William's character does is perfectly acceptable or morally wrong. You will know with certainty that of course it's fine and then moments later you will be thinking: no, how could you! It's a clever story, cleverly directed.

Ginger Rogers also plays a wonderfully complex character. She seems to be absolutely lovely but you just don't know. She has an enormously attractive natural and infectious enthusiasm for life, just by watching her you will find yourself smiling inexplicably. You want so much for her to be as lovely as she seems but even though you get to see her from a couple of different perspectives, you are still never quite sure. A very well written and well-acted character.

(Some Spoilers) On the verge of closing the biggest railroad merger in US history railroad tycoon Alx Stream, Warren Williams, is on his yacht cruising the open waters when he notices a young girl in distress. Saving the girl from drowning Alex offers her a lift back home in the city and during a chit chat with her finds out that she's Lilly Linda, Ginger Rogers, a showgirl at a local burlesque theater.

Alex has been happily married to his socialite wife Hettie, Mary Astor, but he's been going through a change of life lately. Now running into Lilly he feels that she's just what he needs to put him back on track. Showering Lilly with gifts and sending her very personal letters and photos has the working girl falling in love with the multi-millionaire rail-man. Alex keeps the relationship between him and Lilly platonic treating Lilly more like a friend then a lover which is more then fine with her; since she realizes that he really has genuine affection for her and is not interested in having her go to bed with him.

Back at the theater Lilly's manager Lou Colima, J. Carrol Naish, notices that Lilly is in loved with the big railroad magnet Alex Stream and his scheming mind come up with a plan to blackmail him. What he needs of the affair is proof and the letters and photos that Alex sent Lilly over time are the perfect blackmail items but Colima has only one problem: will Lilly go along with his plan.

Fair motion picture about greed as well as cheating on one's spouse. As well as a person who's noble intentions are used to destroy his character and extort his money that leads to a double murder that he ends up being framed for.

Both Mary Astor and Ginger Rogers are at their best, Mary at her stateliest and Ginger at her most glamorous, in this very earlier movie in their film careers. Look out for a very slim Andy Divine as Alex's chauffeur Oscar and future movie Charlie Chan actor Sidney Toler as officer Moron, an Irish/Chinese New York City Cop in the 1930's. There's also Dickie Moore who was a member of the Little Rascules as Alex's young 8 year-old son Tommy. J. Carrol Naish as the Burlesque theater manager is as usual the bad guy in the movie but he isn't too bright either. Colima lets Alex know what he planing for him and Lilly and even tells him that he not only knows about the incriminating letters that he sent Lilly but that he also has them on his person.

The movie has Alex on the brink of ruin as he stands trail for murder and his railroad empire left in shamble but in the end his good deeds more then made up from his momentarily loss of control as well as his very innocent but foolish indiscretion that he had with Lilly.

As a big railroad tycoon, the imposing Warren William carries the film. Too bad this fine actor is largely unknown today, even to many movie buffs. I expect it's partly because he died relatively young (54) many years ago (1948). Nonetheless, he has the looks, bearing, and talent of an exceptional screen presence, and it's always a treat for me to catch him in a new movie.

The plot here is unexceptional— loyal husband Alex Stream (William), strays with chorus girl (Rogers) because wife (Astor) is preoccupied with high society. Problems arise when shady character (Naish) tries to blackmail Stream. Rogers is winning as the rather good-hearted lower class chorine; at the same time, her scenes with William manage a certain charm, though you know the romance has no chance.

Note the film was released in mid-1934. I expect the Production Code's shadow tamed down this screenplay in comparison with earlier William films, such as Employee's Entrance (1933) or Skyscraper Souls (1932). Those screenplays also have William playing a hard-driving businessman. But unlike here, he's also ruthless in dealings and unscrupulous with women. In short, he's got the kind of unpredictable edge that made those pre-Code films so interesting and so threatening to Depression-era big business.

On the other hand, his character here is basically sympathetic, more victim than victimizer. His business dealings remain peripheral, while the relationship with Rogers is more sweet than calculating or sexually provocative. In short, viewers will recognize familiar conventions from the 30-year Code era. The movie's smoothly done with an outstanding cast that includes a restrained Andy Devine, but is otherwise routine entertainment.

Upperworld (1934)

*** (out of 4)

Above average crime drama from Warner with direction by Roy Del Ruth. A ruthless businessman (Warren William) is getting bored with his wife (Mary Astor) who's only interested in climbing the social ladder so he starts a fling with a showgirl (Ginger Rogers) but this turns out to be a mistake when her manager (J. Carrol Naish) tries to blackmail him, which leads to a double murder. There's a lot to recommend here but the key thing is the performances from the fine cast, which shines throughout the film. William is his typical cool self and Astor is in good form in the few scenes that she's in. The real highlight is Rogers who gets to play a lot of sexuality in this Pre-Code and that includes one scene where she's in a short bathing suit and trips over a bed so that her behind can be facing the camera. Dickie Moore is also good as William's son and Naish nearly steals the film as the ruthless wannabe gangster. Sidney Toler, the future Charlie Chan, plays the cop out to break William. Andy Devine rounds out the cast. The story has a few plot holes along the way and the ending is a letdown but this is still highly entertaining.