A Mulher que Eu Achei

Lost Lady, A (1934)

** (out of 4)

By the numbers love story about a woman (Barbara Stanwyck) who turns very bitter and cold hearted after having a tragedy strike her life. One day she meets an elderly man (Frank Morgan) and he convinces her to marry him even though she warns that she can never love again. After the wedding however, the woman finds love with a younger man and must decide what to do next. Even at only 69-minutes this thing seems to run on and on. I guess the only real reason to see this film is due to the early performance by Stanwyck but she's not too good here. She's not bad but not good either since she's still learning the trade. Morgan steals the show but the screenplay doesn't allow him to do too much. Ricardo Cortez and Lyle Talbot have parts as well.

'A Lost Lady' starts off strong, with Barbara Stanwyck and Phillip Reed in love and about to get married, only to have their plans tragically changed. As Stanwyck goes into seclusion in order to pick up the pieces, she's approached by Frank Morgan (who you may recognize as the Wizard of Oz), an older man whose love for her is pure yet platonic. From there the film attempts to troll the depths of friendship, love, duty, and marriage, as other men (Ricardo Cortez and Lyle Talbot) are also attracted to Stanwyck. The plot seems to have little to do with the Willa Cather novel of the same name, and as the film progresses, it seems melodramatic and not all that authentic. It's always great to see early Barbara Stanwyck, and in this one you'll see her hit a few tennis balls among other things, but not even she can raise this above being pretty tepid. It was made right at the outset of the production code, which undoubtedly played a role. At 61 minutes it breezes by, and, having failed to develop some of the potential of the story, ends abruptly.

Barbara Stanwyck, the greatest actress never to have won an Oscar, is here unusually young and glamorous in a succession of ravishing Orry-Kelly creations as she is torn between staying faithful to nice but dull (although fabulously wealthy) husband Frank Morgan and dashing young blades Lyle Talbot and Ricardo Cortez.

It's unusual to see Ms Stanwyck adorning a Women's Picture at this stage in her career; slickly packaged in a grade A production by Warner Bros. rather as they would soon showcase Bette Davis. The original 1923 Willa Cather novel had been filmed with Irene Rich ten years earlier (sadly now lost), and after seeing this glossy travesty Ms Cather never allowed her work to be filmed again during her lifetime.

When book author Willa Cather saw this film she immediately banned all adaptations of her work, screen or otherwise, and more than forty years passed before another was attempted. It is easy to see why once you compare her novel with this soapy love yarn -- there is practically no connection in story, or tone. I loved the cast in this picture and there were parts that moved even unsentimental me; it was nice to see Frank Morgan play a role so far from his most celebrated turn as the avuncular, but sexless Wizard of Oz. Here Morgan is a mature man that is used to holding his passions in check, but sets himself up in a situation that brings him disillusioned loneliness and self-doubt. Barbara Stanwyck is ravishing in every frame of the movie, and she has to be, as she's set up as being a girl so beautiful that no man can resist her. But then we have the scene with Barbara working in the garden in white high-heeled shoes and a bright, floral print dress and we begin to wonder -- "What's up with that?" Do we have to keep propping up this concept of her as perpetually dressed for a cocktail party in order reinforce this idea of her irresistible beauty? Lyle Talbot, God love him, puts his all into the minor part of Nial, and that's what got me interested in looking up Cather's book. Actually, Nial is the major character in the novel, so Talbot's reduced role is a demotion indeed. It can be an enjoyable picture if you concentrate on the performances and not worry about where the story is going; the pacing in the first half is swift, and builds interest. But if you look at it through the lens of somehow representing the work of Willa Cather, then this version of "A Lost Lady" falls flat on its ass. Apparently the now lost silent version was closer to its source.

Warner Brothers (WB) release demonstrating what the studio system did right with these small dramas. Tight script and running time sixty-one (61) minutes did not allow any FAT. This was reinforced by a very competent cast led by Barbara Stanwyck and Frank Morgan, supported by Ricardo Cortez, Lyle Talbot with Rafaela Ottiano (maid as usual). Hobart Cavanaugh and Willy Fung provide comedy relief (as usual and thankfully brief).

Plot revolves around Stanwycks characters loss of love. Resurrection by the love of Frank Morgan. Temptation from first Lyle Talbot then Ricardo Cortez and redemption back to Frank Morgan. This is told in a brisk style that holds interest all the way through. It is a quick time soap opera.

It is great to see is Frank Morgan in a role that was more akin to his early stage presence. Most people only think of him as 'Professor Marvel' from THE WIZARD OF OZ, or some other eccentric character usually over acting. Barbara Stanwyck is looking very 'chic' in a role that would normally be played by WB clotheshorse Kay Francis. Ms. Stanwyck is not what you would call a conventual beauty, but there is something about her sex appeal that is irresistible. We can't exactly put our finger on it, but obviously Robert Taylor did.