Io amo

"A Free Soul" made Hollywood take notice of a young actor by the name of Clark Gable.Slapping leading lady Norma Shearer around,he portrayed masculinity like no star,with the exception of perhaps Jim my Cagney, had done before him.Lionel Barrymore won the Oscar for his very good performance of the alcoholic defense lawyer. I've always found him overacting his parts but he's very believable in this movie.Norma Shearer is also very good,but still overdoes the dramatics with her silent screen acting.But she's really a stunner in the quiet parts. Leslie Howard has once again one of his thankless parts which doesn't tax his ability at all.A very enjoyable picture.

Having just seen the Free Soul (1931), I was struck with how much Gable's character foretold his similarly famous role as Rhett Buttler in the 1939 film, Gone with the Wind. The plot situations in the two movies were also very similar, a different time and setting. I noticed the role of the fathers were almost identical. Barrymore's patriarchal role was just as intense as Scarlet's father. Norma Shearer's free soul character was similar but more understandable and empathetic than Scarlet's continuous self-centeredness. The coincidence of the similarity of Leslie Howard's role in both films as the jilted lover was striking. His acting got a lot better in Gone with the Wind. It was easy to see how Gable was destined to be somebody based on his performance in the 1931 film. I found viewing A Free Soul while comparing it to the more famous Civil War movie was an enjoyable experience.

I thought A Free Soul an interesting exploration into the world of addiction--father Stephen Ashe, as played by Lionel Barrymore, struggles to balance his career as a defense lawyer and the disastrous effects his alcoholism has on his family and social life. Daughter Jan (Norma Shearer) has a similar problem--but her addiction is to a free and easy lifestyle, with no commitments and no responsibility. Both seem to be ways of dealing with an unspoken loss--perhaps that of a wife and mother. Again, as with all good storytelling, backstory is only hinted at but the characters are rich enough to imply a great deal of history. Refreshing to see Clark Gable as a suave, handsome but ultimately despicable character. A surprising lack of stereotypes for such a film-the Ashes are a patrician, proper family who virtually disown Stephen and his daughter, but they are shown to be intelligent, unique people none the less. A wonderful, melodramatic exploration of the relationship of a father and daughter. Some nice location work for an early talkie.

Some movies are theatrical in the sense that all their values and methods are derived from stage values. This is one.

Some movies are in that sweet spot after talkies got going and before the code was enforced, so they have a vitality that is lacking for a few decades afterwards.

This fits those two overlapping pockets and is a fine example of theatrical acting. The story is simple: a woman from a "fine" family spends time with a gangster for exciting sex. She has an unnatural bond with her "mountebank" father, a drunken lawyer both of which characteristics give him an excuse to be broad in his acting style.

The father forbids the affair and dramatic complications arise. Its an excuse for speechifying, which is done fabulously so long as you understand the tradition. Barrymore is perhaps the last great speechifier in this tradition, though Olivier would hang on for much longer and be celebrated out of nostalgia.

There's an interesting fold in this. The audience has a surrogate on screen, in the jury. Courtroom movies have since this grown into a solid tradition. As the case is made to the jury, it is made to us. This is special because was an early edition of that model, say before Mockingbird and Christie. Because of that, the speechifying to us/jury is fresher, more direct, less burdened with mature movieness.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

A Free Soul (1931)

Clark Gable says, "I'm telling you." And Norma Shearer, dressed in a sexy silk dress, replies, "Oh no, you're not. Nobody is."

That sums up this astonishing movie. I can't believe A Free Soul is so little known, or that so many viewers don't get the depth of its meaning then...and now. Throw in three of the most amazing actors of the early 1930s--Lionel Barrymore, Clark Gable, and Norma Shearer--and you can't help be impressed, and moved, and intrigued. It's about strength of character (three or four characters, in fact). It's about being a modern person, and having modern problems. And it's about facing them, openly, honestly.

So what holds it back? Well, for one thing, it has a lot of talk, a lot of simple dialog about some very not simple things. If you accept the characters and their need to talk, you will see a very honest confrontation with alcoholism, and with what is at first a kind of sex addiction, or what is later developed to be simply unbridled love for a man outside of marriage. But the parallel between two temptations is real, and rather powerful, and the sacrifices each of the two afflicted characters make is intense. Barrymore (as the one nipping the bottle) and Shearer (as the one too much in love, or in love with lovemaking) play their parts perfectly. They have moments of extraordinary clarity, and moments of abandonment. And they confront each other in a way that is completely reasonable.

There are other aspects here worth at least lifting an eyebrow at, namely the very close relationship, almost as platonic lovers, between these two. Gable as a lovable but brutal and deceptive gangster is perfect, too--gorgeous and hard, charming and untrustworthy. The milieu is well developed, from barroom to hotel room to courtroom. This isn't a Warner Brothers knock-you-out crime film, it isn't even Three on a Match, for an example of a compromise between a woman's picture and a gangster flick. It's a heady drama, beautifully laid out and progressively involving, with director Clarence Brown (famous for a whole string of such interpersonal, romantic dramas over several decades) knowing what makes a film really matter.