The Cheat

Tallulah Bankhead made her impact on the stage, not the screen. A 'movie star' is usually the result of the fortunate soul discovered to have, besides wonderful photogenicity, a distinct look like no other, and this look sometimes complimented by an unusual manner of speech. Two out of three ain't bad; but, since the camera didn't love her, Tallulah didn't stay long in Hollywood. The camera emphasized the squareness of her head, her hooded eyes, the hardness of her mouth, images belying the many first-hand reports of her irresistible allure when young. For me the major treat in watching this movie is the over-the-top depiction of the lifestyles of the rich and famous - so prevalent in movies made in Lalaland during the Depression. For example, the villain's bachelor pad, where Frank Sinatra might blush in embarrassment, features a curio cabinet with dolls representing female conquests (there is still an empty shelf for the future) and ornate Oriental sliding doors which, when opened reveal an Oriental string quartet reaching to a crescendo.

A favorite quote from her: 'It's the good girls who keep diaries, the bad girls never have the time.'

In this movie Tallulah Bankhead falls into the clutches of a lecherous man - honest, you can watch it yourself if think I'm fooling. But, of course, this was a movie. In real life, if we are to believe tradition and gossip, Tallulah would have eaten this stiff for lunch and not missed a round of drinks.

Anyway, she may have been lucky in love but in this picture she was unlucky at cards and ran up a huge gambling debt. The stiff in question, played by Irving Pichel in a sinister turn, offers to bankroll her - and you can guess the price of his largesse. Harvey Stephens plays her trusting doofus husband who buys any excuse she gives him.

"The Cheat" is an interesting melodrama which becomes less so toward the end. It's OK, but the best part is that it gives you a chance to see TB in a starring role and judge her talent for acting for yourself. She gives it her considerable best and chews the scenery at the appropriate intervals. Since she was primarily a stage actress she didn't make that many movies to judge, so watch it if you get a chance.

Two people who did little work on the big screen and were primarily stage folks, director George Abbott and actress Tallulah Bankhead collaborated on this remake of Cecil B. DeMille's silent classic, The Cheat. It was so watered down that it could have been called The Occasionally Indiscreet.

Tallulah is married to Harvey Stephens and they're both of the upper classes and enjoy the privileges therein. It's Stephens who makes the money and Tallulah who spends it.

She loses a fortune in 1930s worth of $10,000.00 at the gaming tables. She's not able to go to her husband, the money to pay the debt comes from the wealthy Irving Pichel. And he wants to collect the debt in his own way, the same kind of indecent proposal that Robert Redford had in mind in that film.

Half of the drama of The Cheat is lost when we lose the racial component of the original DeMille film. Fannie Ward and Sessue Hayakawa played the roles that Bankhead and Pichel play here and back in the days of miscegenation laws the idea of a wealthy white woman becoming the bought for mistress of an Oriental merchant was shocking indeed in 1915. As a result this film is dependent on the skills of its players, especially Tallulah Bankhead who was certainly one unique personality.

Although Bette Davis was great and The Little Foxes is one of her top five performances in my humble opinion Tallulah who created the role of Regina Hubbard Giddens on stage would have really been special. That and so many other Bankhead performances were lost. If you want to see her at her best make sure to see Alfred Hitchcock's Lifeboat.

This sound version of The Cheat is all right, but nothing special.

The ever-mesmerizing Tallulah Bankhead plays herself - a sassy, brassy flapper who has a wonderful handsome husband who loves her, but she wants more, more, more. During the Great Depression, he can't make enough money to afford her luxurious habits. Not only that but she has gotten in way over-her-head with gambling debts - what's a girl to do? In steps Hardy Livingstone, a smooth talker who has an Oriental obsession - as his house, servants, decor and parties all illustrate. He offers to help out with the debt but at a very high price. Nothing you haven't seen before but Tallulah really elevates this to a very enjoyable level, let's face it, she could read a prayer book and make it sound dangerous and sexy. Racy pre-code fun from 1931!

Tallulah Bankhead was 29 when she made "The Cheat," in 1931, and she came to film after a successful theatrical career. Thirteen years later, she made Lifeboat and looked as if she had aged 30 years in 13.

Bankhead plays Elsa, the adored wife of Jeffrey (Harvey Stephens). She's a compulsive gambler and winds up owing $10,000 (the equivalent of $140,000 in today's money). A man who is obviously after her, Hardy Livingstone (Irving Pichel) gets her the money, but of course he wants payment -- the only kind of payment acceptable from a woman in precode! This is kind of a wild movie which could have been wilder with better casting. Tallulah's supporting cast just didn't cut it. To play the sadistic Livingstone, I would have preferred someone who had a little more bite to him, and Harvey Stephens is plain vanilla. Someone suggested Robert Montgomery for the husband and Charles Laughton for the lecher. I'm not sure she would have gone as far as she did with someone like Charles Laughton. Maybe Cyril Ritchard? Warren William? Tallulah's acting and glamor makes the film interesting to watch, and you'll love the Chinese costume Livingstone gives her to wear for a benefit.

This film was directed by the great Broadway director, George Abbott, who died in 1995 at the age of 107. He's the reason, I think, that this film moves so well, unlike many films of this era where people tend to talk more slowly and the action seems to drag as people get used to sound.