Confissão de Mulher

It's not often that Leonard Maltin puts down a vintage Hollywood 'classic' with top stars (calling it "alarmingly unfunny") – to find that same film, then, praised by an even more conservative critic as the late Leslie Halliwell seems even less likely (while conceding it has "longueurs and a lack of cinematic inventiveness", he considers it an "archetypal crazy comedy with many fine moments")…and, yet, that's just the case with this film! What's more, opinions about it continue to be mixed – as DVD Savant's unenthusing review ("truly a mess…really unsatisfying…this dog {of a comedy}" can attest!! So, I really didn't know what to expect here.

I actually enjoyed TRUE CONFESSION a lot and feel it's one of Carole Lombard's better vehicles – though not quite in the same league as her four top films, namely Howard Hawks' TWENTIETH CENTURY (1934), Gregory LaCava's MY MAN GODFREY (1936), William A. Wellman's NOTHING SACRED (1937) and Ernst Lubitsch's TO BE OR NOT OT BE (1942). The film has a wonderful premise: a female writer who's also a pathological liar admits to murder in order to promote the career of her struggling lawyer husband (who only takes a case if the accused is honest!).

As I said, Lombard is somewhere near her best here – especially disarming when adopting a literal tongue-in-cheek attitude as she's hatching a new 'plot'. Male lead Fred MacMurray – in his last of four teamings with her, three of which are included in Universal's Lombard Collection set – plays second fiddle to the star, but his courtroom plea commands attention (his naivete, then, is demonstrated when he and Lombard awkwardly re-enact the 'crime' for the benefit of judge and jury). Savant is especially harsh on John Barrymore (one of the great theatrical performers, he occasionally revealed himself a superb character comedian with an agreeable tendency to ham): I personally found his performance as an opportunist with a philosophical streak and an over-sized ego brilliant. He pesters Lombard's best friend, Una Merkel (herself a delightful comic actress and a reliable presence in many a 1930s film), in the courtroom by first blowing and then taking the air noisily out of balloons; eventually, he catches up with Lombard and MacMurray (the former being guilty of perjury for having confessed to a murder she didn't commit) and proposes a blackmail scheme – which, however, blows up in his face.

The supporting cast is equally well chosen: a typically nasty Porter Hall as the Prosecuting Attorney; Edgar Kennedy (the great Laurel & Hardy foil) is superb – and flustered as ever – in the role of the investigating cop; Tom Dugan, in one hilarious scene towards the beginning – the role is strikingly similar to that played by William Demarest in another Lombard/MacMurray vehicle I've just watched, HANDS ACROSS THE TABLE (1935); and Irving Bacon – again, his appearance is very brief but quite memorable as a befuddled coroner. The film was remade as CROSS MY HEART (1946), with Betty Hutton in Lombard's role – which I wouldn't mind watching if the opportunity ever arose, but don't really expect to be up to the original (even if Maltin actually thinks it's superior!).

Trivia: director Ruggles (incidentally, brother of comic Charles) had a curious connection with Carole Lombard; not only did he direct her and future husband Clark Gable in their only film together – NO MAN OF HER OWN (1932) – but SOMEWHERE I'LL FIND YOU (1942), also starring Gable…and which happened to be shooting at the time of Lombard's untimely and tragic death!!

Aspiring writer and compulsive liar (Carole Lombard) is married to scrupulously honest defense attorney (a mustachioed Fred MacMurray). Because he won't defend anyone who isn't innocent, his law practice is unsuccessful. So his wife must take a job to help them pay bills. When her lecherous boss winds up murdered, Carole's accused of the crime. Despite being innocent, she confesses to the crime and it's up to Fred to represent her in court.

Lombard and MacMurray are both terrific. John Barrymore has a field day as a nutty blackmailer. Una Merkel is fun as Carole's friend. Edgar Kennedy's a hoot as a blusterous detective. Porter Hall funny as the prosecutor. In addition to being the last of four films Lombard did with MacMurray, this reunites her with her Twentieth Century costar, John Barrymore. It's interesting that in just three years Barrymore's career had declined enough that he was playing a supporting role instead of the lead. This is a riotous comedy with great stars in top form. Leonard Maltin's film guide gives it one and a half stars. Clearly he saw a different movie than this.

Brilliant blend of screwball and black comedy with Carole Lombard at her best playing a compulsive liar married to a scrupulously honest lawyer, Fred MacMurray.

She gets duped into accepting a secretarial job that seems to good to be true. It is. She wrestles with the man, punches him in the stomach and leaves. Later that afternoon she goes back to retrieve her hat with pal Una Merkel. But just as they get up their courage to sneak in a get her things, the police show up because the man has been murdered.

In jail she concocts a scheme to say she killed him to defend her honor. MacMurray will defend her, free her, and become famous. All their troubles will be over. But in a bar sits a man, John Barrymore, who has ideas of cashing in on the murder case.

A flop in its day, but a terrific comedy with top performances by all. Lombard is totally wonderful as the liar who dreams up stories in the blink of an eye. MacMurray is solid, but Barrymore is great as the "world's preeminent criminologist." Supporting cast includes Lynne Overman, Porter Hall, Hattie McDaniel, Richard Carle, Fritz Feld, Edgar Kennedy, Tom Dugan, Irving Bacon, and Gary Owen.

Lombard and Barrymore are tops!

Carole Lombard plays Helen Bartlett, an aspiring writer, who is married to Ken Bartlett (played by Fred McMurray who was her co-star in other films). Her husband Ken is an aspiring and struggling lawyer. Una Merkel plays her best friend, Daisy. Hattie McDaniel has a small part as Ella towards the end of the film. John Barrymore is Charles Jasper. Anyway, Helen decides to earn extra money as a secretary to wealthy Otto Kraler. Things don't go as planned when she realizes his true motives. Otto is discovered murdered in his home and Helen is the prime suspect. Despite the obvious misunderstandings, Lombard makes you believe in her character despite the craziness of it all. I found the story to be somewhat weak in some parts. I never thought a murder could be turned into comedic terms. Anyway if you love Lombard in her slapstick comedy, you'll love and appreciate her in this film.

... and he's pathologically honest. In fact, Kenneth Bartlett is an attorney who will only take innocent clients. Someone should break it to him that the ethics of his profession - and the production code for that matter - only require that he not break the law himself and not suborn perjury. You're perfectly free to take guilty clients. They need counsel too.

As a result, the Bartletts don't have much money because Kenneth Bartlett can't get any innocent clients. His wife Helen (Carole Lombard) is a novelist, but she wants to get a job to help out with the lack of funds. Ken tells her not to, but she finds one anyways that only requires that she work three hours a day five days a week and pays 50 dollars a week. But when she shows up her employer, Otto Krayler, turns out to be a wolf and attacks her. She hits him with something and runs away. When she later tries to sneak back into the house to get her purse and hat, the police show up at the same time because Krayler has been murdered. She is arrested for the murder, and Ken ends up defending her. Somehow, after talking to Ken, she figures the only way she can get out of this is claim she did kill Krayler, but it was because he was assaulting her.

Helen is acquitted of the killing, and suddenly her fiction is in high demand and Ken starts getting more (innocent?) clients than he knows what to do with. They buy a large home on a lake. But then a monkey wrench gets thrown into all of this when an absurd criminologist (John Barrymore) shows up at the Bartlett home demanding a princely sum for Krayler's wallet - proof that he killed Bartlett. Complications ensue.

Yes, Lombard's character does some wacky things like going through with being a defendant in a murder trial when she had nothing to do with the killing, but Ken told her that to claim anything other than what she did could lead to the death penalty. So Ken gets annoyed at her when she wants a job because they don't have enough money to live due to his pickiness with clients, he tells her to plead not guilty would lead to her execution so she lies and pleads self defense, and then he gets annoyed at her later because she seems to be enjoying their prosperity even though it came at the expense of Krayler's life - she knows it did not.

I still rate this one pretty highly because the idea is a unique one and well executed, even if one major character is an unlikable drip.