Il mercante di illusioni

(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.

I read another review and thought I would offer what I thought were the good points of this film. The film was a typical period B film of man finds girl when wife doesn't pay attention to him. The music is great and was later used as backdrop for short films. Also, we get to see Sidney Toler(who later became Charlie Chan) playing a Chan-like policeman; J. Carrol Naish, who starred as a gangster in many later films; Mary Astor, a star of "The Maltese Falcon", who showed some of the great facials she did in that film; and of course, and early Ginger Rogers. The dialogue is snappy and the direction more than adequate. Enjoy this one, it certainly isn't the greatest ever made, but it never claimed to be - just a film of the times. I gave it a 7 out of 10 for its overall against similar films.

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.

The Upperworld of railroad tycoon Warren William almost crashes into a show girl rather abruptly with his speeding power boat nearly running down a swimming Ginger Rogers.

Now more than likely she would have picked herself up, dusted herself off and started all over again as she did in a song she sung in a later film normally. But Warren William's marriage to Mary Astor is running into some rough seas itself. She's too busy being a socialite to have time for her husband and son, little Dickie Moore. Consequently William is ripe for a relationship with Rogers. One that her sleazy boyfriend J. Carrol Naish is ready to take advantage of.

One of the things I found fascinating with Upperworld is the rather rigid roles for the sexes that are defined. William is king of his castle and the wife is their for him. Astor is condemned for wanting something more than being the dutiful wife and mother, a career of her own is not even mentioned as a possibility. She's condemned for being social butterfly and later is properly repentant when tragedy strikes.

As for Rogers even though she gets into this quite by accident, she's still a homewrecker and a person in a not quite respectable profession of showgirl.

Upperworld is a story of tragedy and scandal and the leads are given a good group of supporting players fitting comfortably into roles they've all played before. Please make note of Andy Devine as the chauffeur and Robert Grieg as the butler to William and Astor. Both serve as confidantes at various times of the film to William. Also note Sidney Toler as the beat cop and righteous voice of working class America determined to bring Warren William down. His deductions are worthy of Charlie Chan.

This view of the mores of high society is what we get from Upperworld, a most typical product of the working class studio that was Warner Brothers back in the day.