Confissão de Mulher

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!

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!!

A witty, original black comedy made at the height of the screwball comedy era of the 1930's. Carole Lombard's role originates the wacky wife that became a staple in films and television. Her efforts to make her husband (Fred MacMurray)a successful lawyer offer a still-relevant critique of what Americans tolerates of people "making it" and "getting ahead" in American society, in addition to sharp, witty comments on the meaning of celebrity in American society. The playing of MacMurray and Lombard as husband and wife is vibrant, sexy, wholly believable. They radiate a sense of joy playing off each other. The teaming of MacMurray, Lombard, and John Barrymore makes for one of the most memorable screen teamings ever. Una Merkel is sharp as Lombard's best friend. Beautiful, sunny, often noirish photography enhances the beauty of the stars and the black aspects of the plot.

TRUE CONFESSION is one of the unsung gems of the 1930's, a brilliant black comedy that surprisingly is often written off as a misfire. I think it may be because it is so remarkably different than other 1930's comedies which usually feature lovable and endearing characters in a charming situation; in TRUE CONFESSION we get a certified pathological liar in Lombard and a downright menacing villain in Barrymore. Lombard starts as a woman finds herself falsely accused of murder, to help her husband's floundering career as a lawyer she falsely admits to the crime!! This wacky, envelope-pushing comedy is a thorough delight and makes the cynicism in a more famous Lombard picture, NOTHING SACRED, seem downright sugary. Alas, this picture, clearly inspired by the plot of the famous 1920's musical CHICAGO, was obviously too audacious in theme for 1930's audiences as it would be in 1942 when Ginger Rogers filmed the musical as a song-less comedy in ROXIE HART. CHICAGO was never really appreciated until it's 1975 revival and it's later film version with Renee Zellwegger, but critical respect for ROXIE HART came around with time and I believe it's time for TRUE CONFESSION too to get a new reevaluation as a pioneer black comedy.

Lombard is at her best as the novelist who couldn't tell the truth if she wanted to; Barrymore is superb in an over-the-top caricature of as seedy adventurer. Una Merkel is absolutely perfect as Carole's best friend, this has to be one of her greatest roles. Fred MacMurray is a solid presence as Lombard's devoted and idealistic husband and very sexy too, especially in those swimsuit scenes near the end. Famed movie musical chorine Toby Wing is fun in a bit part as the mistress/"secretary" of the deceased and Hattie McDaniel is hilarious in her few scenes and has perhaps the best line in the picture as she quizzes MacMurray about possibly representing her in as of yet uncommitted crime. Beautifully photographed by Ted Tetzlaff and brilliantly directed Wesley Ruggles, TRUE CONFESSION has more potential to become a cult film than any as of yet undiscovered 1930's comedy that I've seen.

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.