A Ludibriada

The Cheat (1931)

The plot here is wonderfully bizarre and brazen, an early pre-Code film that still has a few creaks and cracks in its production standards. And the leading woman—the "cheat" I suppose—is the wonderful Tallulah Bankhead, who is worth it alone.

Everything is pretty well contained here to keep the filming manageable, so there are lots of interior scenes that look and feel like sets, well lit and straight forward. And there are parties and flirting and the suggestion of impropriety left and right. Most of all there is that weird wealth that a few people had in the Depression as the rest of the country is sliding into ruins.

So Elsa (Bankhead) is a profligate partier and gambler, and her husband is a good guy who works too much. That leads, of course, to her finding amusement where she can. And does. But this gets her into money trouble, first, and then into a pact for sex that she doesn't quite realize she will have to follow through on.

A theme in the background, almost pasted on but with a certain amount of intrigue, is a Chinese them. One of the characters is wealthy enough and eccentric enough to live with Chinese decorations and customs. (This is not uncommon—see the bizarre Edward G. Robinson 1932 film "The Hatchet Man" and think also of the mahjong craze of the 1920s.)

Mostly this is about a woman's honor, and her realizing that her craziness has put her in an awful situation. When it comes to a dramatic climax, there is still a final courtroom scene that is pretty wild and fun. Check it all out. It's not a classic, but it's just odd enough and Bankhead just good enough to justify a close look.

Two people who did little work on the big screen and were primarily stage folks, director George Abbott and actress Tallulah Bankhead collaborated on this remake of Cecil B. DeMille's silent classic, The Cheat. It was so watered down that it could have been called The Occasionally Indiscreet.

Tallulah is married to Harvey Stephens and they're both of the upper classes and enjoy the privileges therein. It's Stephens who makes the money and Tallulah who spends it.

She loses a fortune in 1930s worth of $10,000.00 at the gaming tables. She's not able to go to her husband, the money to pay the debt comes from the wealthy Irving Pichel. And he wants to collect the debt in his own way, the same kind of indecent proposal that Robert Redford had in mind in that film.

Half of the drama of The Cheat is lost when we lose the racial component of the original DeMille film. Fannie Ward and Sessue Hayakawa played the roles that Bankhead and Pichel play here and back in the days of miscegenation laws the idea of a wealthy white woman becoming the bought for mistress of an Oriental merchant was shocking indeed in 1915. As a result this film is dependent on the skills of its players, especially Tallulah Bankhead who was certainly one unique personality.

Although Bette Davis was great and The Little Foxes is one of her top five performances in my humble opinion Tallulah who created the role of Regina Hubbard Giddens on stage would have really been special. That and so many other Bankhead performances were lost. If you want to see her at her best make sure to see Alfred Hitchcock's Lifeboat.

This sound version of The Cheat is all right, but nothing special.

I found this film quite absorbing with a showy performance by Bankhead. She plays the "out-of-control" wife of a loving and up-standing young man (Harvey Stephens). Her gambling debts get her in hock with an untrustworthy admirer (Irving Pichel). Pichel's penchant for the more bizarre aspects of Oriental culture colors his and Tallulah's relationship into multiple arms of scandal. There is a great climax court room scene wherein Bankhead hams it up wonderfully. I'll say nothing more than that "sizzling flesh" is involved here. It must be seen to be believed. The photography and direction is nicely done and for a 1931 film everything moves along quite admirably.

This is brilliant! If you love a crazy melodramatic story with larger than life characters and larger than life Tallulah Bankhead, then this is for you. It's everything you could want from a pre-code movie.

This is one of those pictures where you know exactly what's going to happen but actually revel in anticipation of what you know is going to be fabulous fun. Its plot has laser guided focus, its characters are instantly recognisable; it's a brilliantly written, brilliantly acted melodrama. This is one of those films where the clichéd characters and its inevitable corollary add to your enjoyment but even though you know what's happening next, it still has more than enough tension to keep you on the edge of your seat.

Some have criticised this for being too theatrical. Well director George Abbott was a top Broadway man and obviously the theatre was Miss Bankhead's natural home so this does have a theatrical feel. Often that criticism means stagnant, stagey and talky - but not in this case. This is 100% movie with beautiful photography and perfectly fluid transitions from scene to scene which escalate at a perfect pace to one of the most exciting denouements imaginable. This is how to make drama. This is how to make a film. This is how to make entertainment.

What makes this so fabulous is its star: the amazing Tallulah Bankhead. She's in every scene and you can't tear your eyes away from her for a single second and want to savour every single word she speaks. Her screen presence is utterly captivating. She's not pretty-pretty like Loretta Young or cute-pretty like Joan Blondell. No, she's pure, grown-up sex on legs. In real life she was apparently ten times more sexually voracious than the Tallulah we see in this. The real Tallulah would have laughed off the scandal she tries to avoid in this story so in some respect, her screen persona is a diluted version of herself. Even so, she absolutely sizzles with sex. It's an amazing performance in an amazing film.

Not Tallulah's best film however - that's DEVIL AND THE DEEP....even brillianter!

The Cheat (TC) is a very melodramatic story that touches on such themes as foolish behavior of the idle rich, duplicity, revenge and ultimate redemption. If imitation is the sincerest form of flattery, TC's creators must have been overwhelmed by all the attention it received over the years. This1931 version of TC is the third of four, and the first one from the sound era. The initial TC was made by Cecil B. DeMille in 1915, and featured Fannie Ward, Jack Dean and a young Sessue Hayakawa as the intimidating Oriental villain. A second silent version (now lost) followed in 1923. It was directed by George Fitzmaurice and starred Pola Negri, Jack Holt and Charles de Rochefort as the now Caucasian "heavy." The third version (here under discussion)was directed by Broadway legend George Abbott, and teamed Tallaluh Bankhead with Harvey Stephens and Irving Pichel as the menacing money lender. The fourth and final chapter in the TC saga was made in France during 1937 by director Marcel L'Herbier. It starred Victor Francen, Lisa Delamare and Sessue Hayakawa---who reprised his role from the 1915 version. All four editions of TC more or less follow the basic outline of the plot summarized by previous reviewers. One is left to wonder what there was in this rather turgid tale that motivated interest in its continuing recreation over a period of some 22 years---but there it is! Perhaps if DeMille himself had remade TC with sound (as he did with The Ten Commandments), he might have found something more novel or interesting in the story than was demonstrated in its three subsequent do overs, but that was not meant to be. Some artistic endeavors just do not get better with repetition.

TC (1931) is significant today mainly because it featured Tallulah Bankhead in one of her early sound films. Then just 28 years of age and at the height of her youthful beauty, Bankhead had returned to the USA from a long and successful sojourn to England---where she had become the toast of the London stage. Paramount Studio then offered her a contract for five films at fifty thousand dollars each--and she seized the opportunity. This was during the Depression! Paramount planned to groom her as another Marlene Dietrich and to be America's newest sex symbol. The extravagant publicity that Bankhead's celebrity in England generated certainly made such expectations seem perfectly reasonable. However, her first film for Paramount (Tarnished Lady) was unsuccessful, as were the next two that followed (My Sin and TC)---both directed by George Abbott. Perhaps this result was due to the fact that these films seemed more tailored to suit Dietrich's image rather than Bankhead's. Nobody disputed the fact that Bankhead was considered to be a brilliant actress in her own right, and deserved the right to play roles that would better capture the unquestioned magic she previously demonstrated on the London stage. But this filmmaking phase of her career--lasting around a year and a half---ended unsatisfactorily. She completed her contractual obligations with Paramount, and finding movie making and Hollywood both unattractive, Bankhead headed for New York and opportunities on the Broadway stage.

While TC is not a great film and Bankhead's work in it is not particularly memorable, there is no dispute that her performance is both interesting and entertaining. We are left to ponder just what might have happened to this talented and charismatic young actress if she had been handled more creatively and appropriately at this point in her career. Unfortunately, we will never know.