The Strange Love of Molly Louvain

The great Ann Dvorak wraps this up with her special brand of magic. It's really a shame she isn't more well known today. A lot of that seems to be because she didn't really have the ambition to stay on top after her initial burst of stardom which is a shame, she was always an arresting screen presence. Here as a woman more sinned against than sinner she is compelling and once she switches to platinum hair very striking. Her troubles are common ones faced in many pre-code dramas but she handles them with grit and skill. Her large expressive eyes tell volumes. Lee Tracy is abrasive but that was his usual persona so if your a fan he isn't bad, I've always found him an acquired taste. Efficiently directed by Curtiz this zips right along even if the ending is a bit of a letdown.

Whatever it was, it's too bad there doesn't seem to be any of it left. Warner Bros. pre-code was like a renaissance atelier - genius in the air, tons of talent on hand, cranking out, if not masterpieces, some unforgettable confections. Tons of bit part players in this one, it's as though they couldn't let anyone just walk on and act, the scene had to be chewed through. This sometimes seems distracting when you're caught up in the story, which, as with "Three on a Match," uses the threatened child to keep you in suspense. But with Lee Tracy and Ann D., plus all these superb faces and shticks, can anyone really complain? Worthwhile to think about why this Warner Bros. vision of life seems to get tremendous lift from exploiting a certain idea of the US press, never better represented than by Tracy - at least until Grant in "His Girl Friday."

Molly Louvain (Ann Dvorak) is knocked up and abandoned by a rich guy. So she takes up with a dirty crook (Leslie Fenton), then a naive bellhop (Richard Cromwell), and finally a cynical reporter (Lee Tracy). She's the Goldilocks of love. Fun Pre-Coder from WB is a nice showcase for lovely Dvorak, one of classic Hollywood's most under-appreciated talents. She dyes her hair blonde in this. Gotta say she looked better as a brunette. This is also the movie she met her first husband Leslie Fenton. The two married not long after this was released. Lee Tracy doesn't show up until a half hour or so into the picture but things pick up once he does. His scenes with Dvorak are filled with snappy banter and excellent chemistry. The movie really takes off when these two are together.

Curtiz' slick, odd, interesting little flick. Ann Dvorak is a small-town go-getter. Her boyfriend deserts her. She hooks up with a worthless, hustling traveling salesman and has a daughter by the boyfriend who dropped her. She tries to drop the salesman and gets involved in a murder imbroglio, but gets off with the help of fast-talking newspaper reporter Lee Tracy. Fast paced and acted in Warner's best style

Fast little Warners item, from a play by Maurine Watkins--who wrote the source material for "Chicago," and this hard-boiled B is very much cut from the same cloth, with big-city corruption, tough-talking dames, and vice not always unrewarded. Ann Dvorak, always good in this sort of part, is the girl from the wrong side of the tracks whose attempts to crash high society are thwarted, and ends up a fugitive, for reasons she's not quite guilty and not quite innocent of. She's also an unwed mom, and not entirely an unsympathetic one, this being a year before they started fully enforcing the Production Code. Lee Tracy plays, as he was born to play, a fast-talking, fast-thinking newspaperman, and watching him at his peak is sort of like watching Cagney--he's so lively he's impossible not to like, even playing a reprobate like this. The story doesn't quite hang together: If Molly was really abandoned by her mom at seven, as she states early on, she's only 16 at the start of the film, which makes no sense at all. And while nobody, not even Tracy, is able to recognize the peroxide version of Molly as the same on-the-lam gal in the picture they have of her, her infant daughter does, at once. The tone's uneven, too, veering between melodrama and uneasy comedy. But Dvorak and Tracy are so watchable, and the supporting cast (Richard Cromwell, Guy Kibbee, Frank McHugh) so quintessential early-'30s Warners, it's a fine time-waster.