Dieci soldi a danza

This movie begins in a night club called the "Palais de Dance" with a woman named "Barbara O'Neill" (Barbara Stanwyck) getting paid to dance with customers. As it turns out, her mind isn't in her work lately because she has just developed a crush on a man named "Eddie Miller" (Monroe Owsley) who resides in the same apartment complex as her. Unfortunately, Eddie is rather down on his luck and without steady employment plans to skip town soon. As luck would have it, however, a rich young man named "Bradley Carlton" (Ricardo Cortez) becomes quite inebriated and proceeds to give Barbara a large tip of $100--which she then passes along to Eddie to pay his bills. Not only that, but a day or two later she also convinces Bradley to hire Eddie at his firm as an accountant. In any case, one thing leads to another and eventually Eddie and Barbara get married which prompts Barbara to quit her job. Unfortunately, although they love each other Eddie gets discouraged about his work and tends to squander money in the stock market and cards. Unable to pay the bills, Barbara returns to the night club in secret to make a few bucks to make ends meet but it isn't nearly enough to pay off the substantial debts Eddie owes. Now rather than reveal any more I will just say that this was a surprisingly pleasant film which still retains its charm after more than 85 years. I especially liked the acting of Barbara Stanwyck who really seemed well suited for this particular role. Admittedly, being an older film, this picture might not appeal to all viewers but regardless of that fact I enjoyed it and have rated it accordingly. Above average.

Ten Cents a Dance (1931)

*** (out of 4)

Criminally underrated drama about a woman (Barbara Stanwyck) working at a dance hall who agrees to marry a poor man (Monroe Owsley) even though she could have had a rich man (Ricardo Cortez) who was in love with her. Soon after the marriage the woman learns that her husband is a womanizer and a thief but she's forced to ask the rich man for money when her husband falls into some major trouble. I had read so many negative reviews about this thing (including one in Leonard Maltin's Classic Movie Guide) that it really took me by surprised and I'd probably go as far as to call it one of the most underrated and un-appreciated films from this era. I'm not going to say this is a lost masterpiece or some important piece of film history but it's certainly a highly entertaining gem that deserves to be re-discovered. What really caught me off guard was the performance of Stanwyck who is quite remarkable. She made a career out of playing tough women who wouldn't take any crap from anyone but here she's the complete opposite as her character is so weak and fragile that it really shocked me at how terrific the actress played it. Just take a look at the first ten minutes when she's forced to be tough inside the dance hall but then the next scene she's falling for the sad story being told to her by Owsley. The compassion Stanwyck expresses in this scene is something I've never seen from her and the eventual weakness of her character is something else I've never seen her do. She handles all of this extremely well and it really made me wish we had gotten to see more roles like this. Sure, she's a legend playing the tough girl but she really was remarkable here and sold every inch of her character. Owsley is also terrific as he too has different sides of his character and he does both of them with ease. I thought he was terrific as the sweet, friendly guy that Stanwyck marries and that sleazy side comes across without any issues. Cortez is another major plus getting to play a soft-hearted guy. Barrymore's direction is pretty straight-forward as he doesn't go for much style but instead lets the performance lead the film. I thought he did a very good job at keeping the drama going and it's a shame this turned out to be his last directorial job. The film is based on a popular song of the day and when I saw this on the credits I thought we were going to be in for a long and boring film but it was the complete opposite. This Columbia film has pretty much been forgotten, which is a real shame but hopefully more people will give it a shot. Film buffs will also notice a line that would become legendary in CASABLANCA but here it is over a decade earlier.

Fans of pre-Code films will forgive this 1931 Columbia Pictures feature directed by Lionel Barrymore (his last directorial effort) if only because it stars Barbara Stanwyck in an early role. As is the case with all stars, she is even then true in every moment, entirely believable, and far surpasses the wooden script and the rest of the cast. Most embarrassing is Monroe Owsley as her no-good husband; he is particularly bad, totally false, overacting. Ricardo Cortez has a thankless role and does his best. This is a perfect example of how a star can make something out of nothing by the sheer power of her personality.

Barbara Stanwyck's character isn't that usual confident and sexually charged young woman she had perfected back in the early 30s. In this she is more fragile but as you'd expect from her, she pulls this role off perfectly. In this life her job is being a brassy dance hall hostess selling herself to sex hungry men but trying hard not to let this seedy occupation encroach on her actual life. In that life she is an optimist, an innocent girl waiting for Mr Right to sweep her off her feet - but she's a realist too and when she's given the option of a young handsome millionaire who seems too good to be true or a guy, down on his luck from her own apartment block she picks whom she considers the sensible choice. Wrong!

Unlike in most pictures, this millionaire is actually as good as he seems (if not better). Barbara's guy from the apartment turns out to be a monster. Not an over the top movie monster but a believable vulnerable young man with his own issues. His insidious nastiness fuelled by his own insecurities and self loathing quickly bubbles up to the surface making him a cruel bully coercively controlling his doting vulnerable wife. We the audience can see this happening long before his devoted , loyal wife and we're shouting at her to wake up and see the truth but she muddles on in her own rose coloured fantasy world towards disaster. You can see similar stories being played out today both on tv and in sadly in the real world. This isn't the best portrayal of such 'toxic relationships' but it's interesting to see a 1931 take on this.

Despite the naturalistic acting, a bit part for Loretta Young's sister, the wonderful way this brilliantly captures the feel of 1931 (as a piece of time travel, this picture's fabulous) it's not "a great film." Lionel Barrymore, for a change is not acting but directing and he does a reasonable job (although I can't see anything which particularly demonstrating any individuality or style). It does however succeed absolutely in the goal of any motion picture - it affects you emotionally. The Barbara character is a bit wet but you definitely empathise with her. You will also definitely hate that pig she ends up with.

Soon after this effort, Lionel Barrymore went back to acting full-time. I wouldn't blame him. Although Stanwyck is excellent as usual, this is a slight tale, typical of the time, that she alone makes worth watching—one time only. There's something frustrating, moreover, about how her character remains faithfully committed to the lout played by Monroe Owsley for so long. I suppose we have to accept that behavior which in our day would seem masochistic was the cultural norm in 1931 for most women. On the Pre-Code front, there's a gum-chewing scene stealer, foxy Sally Blane as Molly, a newbie who can't wait to dive into the sleazy dance hall world, although Stanwyck tries to advise her (and immediately says she knows that Molly is underage).

What brings everything down is the low budget. Columbia could mount a good-looking feature from time to time, but in 1931, I suppose they weren't doing it very much. The art director does suggest the opulence of Ricardo Cortez's apartment effectively without showing its interior; we get the idea from the lobby, hallway leading up to his door and vestibule, with its snazzy Spanish California motif. But the rest of the picture is pretty threadbare, and Barrymore's direction seems perfunctory and hurried, as if pressured by budget and schedule constraints (I hasten to add that budget is not necessarily everything; take a look at the excellent, absorbing Five Star Final, which basically takes place in two newspaper offices and an apartment living room, to see how resourcefully such conditions can be handled).

As for the story itself, it looks like it was dreamed up by somebody and sketched out on the back of an envelope all in the space of one afternoon. If Barrymore felt dispirited, he sure showed 'em, going into "A Free Soul" this very year, where his performance blew everybody's minds and won him a lifetime MGM contract. The song of the title is pretty good; we hear but do not see it performed by a torchy vocalist.