Silenzio sublime

TCM's print of Frisco Jenny benefits from being in near pristine condition, and luckily the film itself is pretty good, too. Director William Wellman never settles for static shots, relying on almost constant camera movement to keep the story moving and culminating in a cleverly shot (though somewhat gimmicky) courtroom sequence. Ruth Chatterton looks somewhat younger than in most of her features but by film's end she's reverted to her more natural (and to my mind, more attractive) look. It's unfortunate that a Caucasian actress who specialised in ethnic roles, Helen Jerome Eddy, was cast in the important role of Amah, Chatterton's Chinese housekeeper and confidante, but that shouldn't be taken as criticism of Eddy's performance, which is quite fine. Throw in a decent recreation of the great quake of 1906, and you have an entertaining and ultimately very moving household drama that doesn't pull its punches.

This is an excellent early film by Wellman, filled with all sorts of lovely detail and efficient film-making. The opening tracking shot through the swinging doors of the whorehouse sets the key note for what will be a pretty stylish little film. The opening scenes in the house are musical and full of bustle, rich in their suggestion of off screen space.

The film is chock full of little musical touches that lend it rhythm and style, like the scene in which Chatteron finds out about her lover's death--Wellman finishes it with a sweet rendition, by nearby musicians, of "My Gal Sal", a very effective and surprising bit of counterpoint. And look at the interesting way he has of presenting all the observers of Chatterton's trial, in a series of little pan shots from one to the the other, each shot tied to the rhythm of Donald Cook's speech. You get the sense that Wellman's creative energy was really flowing here.

Chatterton is always good but particularly so here. Orry-Kelly's gowns really suit her and cinematographer Sid Hickock films her and the gowns well. There are a few frames here worthy of MGM. In her final scene, Wellman strips her of all make-up, a pretty unusual approach for the time, but typical of Wellman, who took pride in deglamorizing his actresses when the film called for it. It was a pretty brave scene for Chatterton. She and Wellman were both difficult to work with but liked each other, oddly enough.

Lots of fun character bits. Donald Cook (resident Warner Brothers good guy) is better than usual. James Murray, from King Vidor's "The Crowd" has an early role as the father of Chatterton's child. I like Harry Holman as the john whose pocket gets picked and Wellman regular Nick Copeland as the drunk in the bar.

This is an underrated film. I made a point of seeing it because Wellman, himself, who could be hard on himself, liked it a lot. He was right--it's top notch.

Give the great Ruth Chatterton credit for continuing to play leading roles in films into her forties. It's easier to do that today but back then, with Joan Crawford not even being walked to her car when she left MGM at 40, it wasn't so easy.

People always say, well, that's not true, those actresses worked. Really? Did they work like Harrison Ford works today? Clint Eastwood? Or were they playing character parts that weren't leads and starring in B, black and white movies?

Chatterton here stars in "Frisco Jenny" from 1932. After the San Francisco earthquake, she and her baby are left destitute. She becomes the boss of a thinly-disguised bordello and rakes it in.

During a soirée one night, her friend and partner Steve (Louis Calhern) catches someone cheating him at craps and kills him. Jenny helps him cover it up and winds up in prison. He bails her out.

Hearing social services is going to take the baby, Jenny's housekeeper takes her to her family in Chinatown. Steve advises her to let the child live with friends of his who have money and will be good parents. She relents.

When the heat cools off, a few years later, she decides to take her son and move to Europe. But when she meets him again, he doesn't know her and wants to stay with his parents. She can't bear to take him and make him miserable, so she gives him up.

She carefully monitors his growing up, and even is an unseen hand in helping him. Years later, their paths cross again.

Ruth Chatterton is excellent as Jenny, a strong, loyal woman who is unapologetic about what she has to do to survive. Former matinée idol Louis Calhern gives a polished performance as Steve. Donald Cook plays her grown-up son.

Similar in many respects to Madame X. Directed by William Wellman, who gives the film extra flair.

A great film in which to see Ruth Chatterton.

Another Pre-Code Entertainer from Prolific Director William Wellman. This One Stars an Actress that is Virtually Unknown Today but has a Fan Following, Ruth Chatteron. The Recycled Soap Opera Plot is for those who like Weepy Melodrama with Strong Female Sufferers in Tragic Situations.

It Spans a Generation of Time in its 70 Minutes and is Another Example of Movie Making Magic in its Most Concise Form. The Opening is the Year of the San Francisco Earthquake and the Barbary Coast is the Backdrop for that Natural Disaster as the Story Begins to Unfold a Natural Disaster of it Own.

The Pre-Code Only "Bastard Child" to a Woman of Ill Repute who must Relinquish Her Son because to Society its a Sin to Sell Your Body and the Baby must be Taken Away. But the Heart of Gold Mother Fights, in More Ways than One, to make Sure the Child is Cared for.

Overall, this is a Classic Tale Told with Class. The Costuming is Excellent, the Acting Acceptable, the Camera Work Outstanding. The Earthquake Scenes are Exceptional. It is Not Edgy like a Lot of Pre-Coders but it Makes Up for it with Style and Story.

Frisco Jenny (1932)

I found this remarkable. I can guess that some people will balk at the "oldness" of the scenes and acting. Yeah, of course it's black and white. It ahs characters that might seem like caricatures, simple and obvious. But more important is the leading woman, who is terrific, Ruth Chatterton.

And key to it all is the great San Francisco earthquake. The movie is set in 1906 (this is shown in the opening frames) and so the incredible devastation is a given. And it's really well done, with buildings falling, the ground rolling (really!), and even what looks like some actual footage of the burning. Despite a lighthearted element throughout (there is a healthy sense of humor even in some of the serious moments), the overall intention is a serious social drama. Not only do we see the difficulty brought on by the quake, but the problem of an unwed mother in the middle of it all.

Only a pre-code film could pull off this kind of crossed intentions and make a drama without all kinds of covering up. So expect something terrific.

William Wellman is a great underrated director, a little like Michael Curtiz a decade later, making mainstream films really well. Both of these directors (and throw in William Wyler) were part of the Hollywood style, and in some ways helped formulate that "style." So they seem unexceptional in some ways even if their movies are really sophisticated. Here, Wellman pulls one great move after another, with moving camera, or a slow track in on a face, or quick pans instead of cuts from one face to another, and so on. The filming and editing is unsually smart. The acting works well in every case, and sometimes works exceptionally. Besides Chatterton in the title and lead role, who is remarkable in every way, there are a few side parts, including one by the dependable Louis Calhern.

And the story moves and moves. It's like an epic novel going through many years in just over an hour.

If you are plot oriented, I think you'll also find this movie special. The first scenes lead to the quake leading to a series of different kinds of scenearios that are really unexpected. So it continually surprises. And there is a weird and wonderful conflict between utter virtue (a mother watching out for her child) and ruthlessness (a mother coolly breaking the law to do so). Not all goes smoothly, of course, and so the movie takes on still other levels.

So, watch this with fascination and visual appreciation. If you let it, it will tug on your heart strings (even if the baby is an unsympathetic shouting brat!). If you have trouble finding it, look for Warner Archive Instant, which has a ton of old movies set up a little like Netflix. Enjoy!