Brief Moment

Visually, I would have to give this little number a solid 10.

Carol Lombard is at her exquisite best, and one could look at Gene Raymond for a long time without blinking. The cinematography (by Ted Tetzlaff) is absolutely wonderful, and the Columbia design studios provided visuals that are eminently worth recording.

The night club where Lombard preforms is decorated with life-size bronze deer, cast after a model dug up at Pompeii. When Carol/Abby is taken to meet her stuffy potential in-laws, the famous Lombard nipples are pointing directly at her fiancée's mother (covered of course by a little something whipped up by the great costumier Travis Banton).

There is a great scene where the newly-weds are standing at the rail of a big ocean liner, an iconic 30's image with Carol wearing a marvelous hat as only she can. The apartment that Gene/Rodney brings his wife home to is swellegant. (This is an actual 30s expression, as I found it in a catalogue of Warren McArthur furniture published c. 1934!)

Mind you, it's not a "great" film, but it is very entertaining visually--the quintessence of the early 1930s. The original play was by S.N. Berman, so it certainly has good bones.

And ANYTHING with Carol Lombard is well worth watching! Not only was she staggeringly beautiful, but her acting is exquisitely nuanced to well capture a broad range of emotions, whatever her role.

I adore Carole Lombard and was looking forward to seeing this early starring vehicle. Lombard's initial Paramount films in her starlet years were hit and miss, but when she was loaned out to Columbia that so-called "poverty row" studio gave her the red carpet treatment, with beautiful photography, elegant productions, and above all, good roles and scripts, as was the case with "Virtue", "No More Orchids", "Lady By Choice", and eventually, "Twentieth Century", the film that made her a major star. The one Columbia vehicle I hadn't seen was "Brief Moment" and it was not only the one dud in the bunch it also gives Lombard her least appealing character ever, more of a castrator than the helpful spouse she is suggested to be.

Social heir Rodney Deane (Gene Raymond) has fallen in love with sexy nightclub singer Abby Fane (Lombard). He proposes but she is wary how his affluent family will react to her. He brings her briefly to meet the folks where she spends all of five minutes in their presence. They are cordial but frosty and it's clear to the couple they don't approve of the match. The duo go ahead with their plans, apparently cutting the family off completely and then going to Paris for a months-long honeymoon. Returning from the trip, Abby is annoyed that Rodney's best friend Sig (Monroe Owsley) has gone ahead and furnished their new apartment without any request from them although Rodney is happy with the results. Six months into the marriage, Abby is tired of their nightly socializing and bar-hopping and especially the eternal presence of Sig in their lives who she thinks is a bad influence. Abby all but demands Rodney go out and get a job (they've been living on $4,000 a month checks from Deane Sr., though apparently neither of them has bothered with the family since the honeymoon) or she'll leave him. Rodney gets a job on the ground floor of his father's business but is so bored with the low-level job he quits without telling Abby and is off to old tricks, hanging out at the racetrack with Sig when he pretends to be at the office.

This movie is rather boring to begin with but Lombard's character further wrecks the story. First, it's hard to believe a posh nightclub singer would have such an unyielding middle-class mentality that a man has to work even if he doesn't need the money and her delusionment with Raymond seems strange given this this the Rodney she had always known when dating, the on the town playboy. Sig at one point refers to Rodney as "henpecked" and while that's not what the screenwriters were suggesting, it's undeniably true, Abby tells Rodney what he is to do with his life and there is no if's, and's or but's for her. Her control freak edge is indicated early with her cutting his family completely out of their lives after one five-minute meeting, never trying to make build bridges and make amends and yet the movie makes it like Abby is in the right at all times. The script clearly has an anti-upper classes stance that presumes the general working-class moviegoing public of the era will agree that the rich are the real ones without class.

Lombard is gorgeous in this as always but this unpleasant characterization is hard to take. When she's not barking orders, Abby is crying - more than getting a job, Rodney needs to run like hell! I hate the see the wonderful Carole playing such a harpie Gene Raymond was never one of the better actors among the era's leading men but he's ok here. Arthur Hohl as Abby's sole friend, the unhandsome nightclub owner who has an unrequited love for her is the one sympathetic character in the film. Sole acting honors go to Monroe Owsley as caustic, shallow buddy, Sig, a role in which the famous theatre critic Alexander Woolcott made his stage acting debut to great acclaim.

I could not believe this dull, anti-rich drama was based on an S. N. Berhman play. Behrman made his name for his social comedies on the stage and this would really be biting the hand that buttered his bread. I looked up the plot of the play and while Abby and Rodney are both nightclub singer and playboy in it, there's little else in common with this hokum. In the play, Rodney proposes to Abby because he likes her drive, having none of his own. She admits he's not the love of her life but she agrees to marry him for the chance to crash society. When Abby again meets the playboy polo player who was her true love but wouldn't marry her, she plots to humilate him as he did her, flirting with him as if they might resume their affair as they hit the town and cause a scandal. Her plans backfire though and it's Rodney who wants out and Abby realizes she needs to stick with what she has, even if it burns out after a "brief moment". Behrman's play was a sharp comedy but certainly Hollywood was not going to make a glib movie about semi-open marriages in the 1930's so screenwriters Brian Marlow and Edith Fitzgerald came up with this bucket of self-righteous slop. Hopefully Behrman was well paid for the bastardization.

Typical quick time 'soap opera' churned out by all the studios to fulfill their theater chain commitments. This COLUMBIA PICTURES effort clocks in at 71 minutes and entertains for most of them. Not a classic but well worth watching.

The story is a typical one of the period, working girl played by Carole Lombard (ABBY FANE) falls in love and marries upper crust scion. Being in 'show business' she does not meet with approval of her in-laws. The husband played by Gene Raymond (RODNEY DEANE) is a aimless but wealthy drifter heavily under the influence of his friend played by Monroe Owsley (SIG).

ABBY keeps trying to get RODNEY to stand on his own feet and become the man she believes he is. SIG at his parasitical best tries to hold on to a good thing, which means plenty of Booze, Night Clubs and 'Fast Times'! ABBY seeks help from RODNEYs' family to get him on the straight path, but no luck. Usual misunderstandings, separation and then RODNEY has a epiphany realizing ABBY was right all along. Redeems himself and true love triumphs.

Carole Lombard portrays her role with intelligence and sensitivity. Hard to believe this attractive and lithe actress the previous decade was a chubby comedian at MACK SENNETT. Gene Raymond a amiable though limited actor fulfills what is required of him. Monroe Owsley has his parasite gig down to a 'T', making a career of such roles. Though his character of 'SIG' is always in the company of women you get the feeling he swims both ways and his friendship with RODNEY may be more then platonic.

Director David Burton must have been one of the pioneer Hollywood directors and he does a splendid job with this 1933 production, BRIEF MOMENT. Not only does he extract top performances from Lombard, Raymond, Cook and Hohl, he serves a rich vs poor marriage in the Depression years, which studio heads must have regarded as socially thorny box office poison.

BRIEF MOMENT encapsulates the spirit of the film: everything happens briefly and in the moment. Rodney (Raymond) falls for cabaret singer Abby (Lombard); introduces her to his doubting family and shows backbone in marrying her regardless; the two live the high life paid for by his father; she decides it is not right they should live so carefreely whilst others work their fingers to the bone; she demands that he find a job; he finds a job in Dad's company, promptly leaves it to attend horse races without telling Abby; meanwhile, honest friend Steve (Hohl) loves Abby and tells her about Rodney's deception and the latter commendably tells her the truth; the next brief moment they separate, he rejoins the rich life, she the cabaret; then the final moment, when he has the backbone to go job hunting so he can win her over again. At the end, he proudly shows her his hard earned salary check... but how long will that moment last? You can see the strains of a failing marriage, of excessive outside influence by friends and family, and you know this will be no long-lasting love story.

For 1933 I think it a darned intelligent flick, with a keen insight into men's and women's values, even if I found it tough to swallow that a beautiful woman like Lombard would in real life ever pass up on a life of luxury to have her rich hubby start from the bottom instead.

Nearly a century later, much has changed, women have gained importance in the labor market, but the momentum remains in state hands, to skin the taxpayer to the marrow and get men and women involved in paying for state folly under the guise of national interest.

Interesting, 69 minutes long, eminently watchable. 8/10.

Brief Moment stars Carole Lombard and in this film she is gets married to wealthy Gene Raymond who has a nice arrangement with his father Reginald Mason and brother Donald Cook. Dad makes the money and the two of them spend it. Lombard is a nightclub singer who falls for Raymond, but tries to reform him.

Back in the day a character like Raymond was called a wastrel. It's a 19th century word I wish would come back into common usage describing someone who just wants to have a good time and nothing else. They also are wealthy enough to see it works out that way.

During a time when a quarter of the country was out of work such people were really looked down on. Lombard thinks Raymond has abilities but he won't use them. The crux of the story.

One character does stand out that of Monroe Owsley as Raymond's best friend and fellow partygoer. He's a real piece of work.

Brief Moment is a Depression Era story that probably would not work well with a contemporary audience. It's a museum piece of a film.