L'amante

Joan Crawford made two films, both with the title; "Possessed." This is the 1931 version (the other was made in 1947) and the two stories are nothing alike. Clark Gable is in this one, and it's a delight to see the two superstars together. (Supposedly, they were having a torrid affair at the time this was filmed).

Excellent soaper with a Joan Crawford billed above the soon-to-be superstar Clark Gable. The possibility of upward mobility afforded to women, especially at this time during the Great Depression, remains a theme of interest today. Women can play on men and get upward mobility but there is often a price to be paid -- and Joan pays it in this movie.

Excellent photography makes the best of the stars and Adrian's dressing of Joan. Notable train sequence in beginning of film has the poor Joan facing the possibility of the good life if she is willing to defy convention and joint those "inside the car." Gable teaches her how to act and she becomes a refined, but kept, woman. He refuses to marry her for all the "right" reasons but in the end, Joan is affected by society's opinion of women in her station.

Grandstand speech sequence at the end of the film is a bit too unbelievable but my wife was moved to tears when she saw it. One of Joan's better films. Recommended.

If you want a film to epitomise The Great Depression then this is for you. Although Warner Brothers are associated with pictures showing the plight of 'the little people' this superbly made, well acted MGM film focuses on just one young woman's struggle which because her character is so richly written and believable, it gives an authentic insight into the reality of the early thirties. Unlike a lot of films from 1931, this one takes you to what seems like a real place.

Joan Crawford may not be the world's most likeable actress but you'll not be able to tear your eyes from her in this. Her character is beautifully written with a naturalness that's fairly uncommon in 1931. She is unusually honest with an authenticity you'd associate with films made decades later but she is still most definitely a person who could only exist in the early thirties.

What also makes this so much better than some of its contemporaries is the high class direction. Although not one of Hollywood's best known directors these days, Clarence Brown was an astonishing filmmaker. A few months earlier he had made another of 1931's best films: A FREE SOUL. There's no stagey acting with a static cast awkwardly reading their lines in order. Brown makes everything flow just right. Watching this, something made so well, you'll wonder so many early talkies were so utterly terrible.

The story centres on Crawford's character Marian who decides to quit the humdrum of factory life in a nameless nowhere for the big city. She's not the usual sweet and innocent pure young thing about to get corrupted by a callous cynical millionaire: she knows exactly what she needs to do and she wants to do that. The only way for a girl like her to survive in the big city, she is told, is to hook a man, a rich man. This is exactly what she sets out to do and although it's not smooth sailing, she finds a good sugar daddy (and a young one) in the form of Clarke Gable, who himself is on top form. His character is not the lazy stereotype rich man so often seen in early talkies. He and also loveable anti-hero Wallace Ford are both as complex and layered as anyone in a modern film.

Overall, the naturalistic acting, imaginative direction and properly written characters make this picture entertaining, insightful and fun.

In 1931, rising star Clark Gable & already established star Joan Crawford made three films together at MGM. This is probably the best of those three, and maybe the best of all eight they did over a nine-year period (STRANGE CARGO in 1940 follows second best). Crawford is a poor Pennsylvania factory worker, who decides to go to New York to find fortune and happiness, eventually with married lawyer Gable. The plot relies on the familiar "Crawford formula" of a rags-to-riches story. 3 out of 4 stars.

I came by this movie when someone I know at work gave me a still-sealed copy from the Warner Archive Collection; they'd sent him two of the same title by mistake. Since it was Clark Gable and Joan Crawford I decided I'd give it a chance. Joan plays a factory worker who gets tired of the hum-drum life she leads and isn't interested in the man who's longed to marry her since they were kids (Wallace Ford) so she leaves it all and travels to New York City where she plays mistress to a wealthy lawyer (Gable) to get the kind of high living she wants. Three years later, Ford still wants to marry her, and Gable intends to run for Governor but his chances may be jeopardized by living with a woman. This pre-code film was nothing earth shattering, but had good performances from Crawford and Gable, and for me an added surprise bonus with a strong turn by Wallace Ford. I think through this movie it's easy to see Crawford's talents and how Gable was destined to become a big star. Director Clarence Brown has a nice touch, and some shots are very impressive. The one which stood out most for me is early on where Joan longingly observes well-to-do people interacting on a slow-moving train, as we see them through the windows of each passing car. When I see artistic flourishes like this in so many early '30s pictures (and many silents), my old defense of Tod Browning's Dracula for being dull due to it being an early talkie certainly falls flat. **1/2 out of ****