Mademoiselle Frou-Frou

I have watched television over the last forty years and this is one of the few black and white movies that I missed. It was great to see one of the greats again. This movie invokes a wide set of emotions that doesn't require explicit sex, explosions or fast plots. The photography is outstanding and every close up is a prefect portrait of expression and lighting. Luise Rainer gives an incredible performance. After reading her biography, I understand that she is known for her emotional dramatic acting and hand postures, but in this film, I don't see how any one could have pretended to be as beautiful and flighty. The character was "almost" mentally ill, that is nearly detached from reality. Flighty and beautiful...a prefect performance. I'd have to say that she stole the show. *S* Thank you Luise.

Like her contemporaries, Garbo and Dietrich, the Vienesse Luise Rainer had both beauty and talent and yet, despite winning two consecutive Best Actress Oscars, failed to achieve the same level of cinematic greatness. Dissatisfied with the way MGM was handling her career, she fled Hollywood in the late 30s and, sadly, audiences today barely know of her work. Here, she had one of her better film roles as Frou-Frou, the flighty Southern Belle, indulged by a wealthy father and doting older sister and, consequently, aware of nothing but her own needs and desires. When she catches the eye of a staid lawyer (humorless Melvyn Douglas), who is charmed by her youthful joy and gaiety, she consents to marriage at the urging of the sister, who is hopeful Frou-Frou will somehow be forced to grow up, and in spite of the sister's own love for the lawyer. When the marriage fails to produce the desired outcome, and sensing the loss of her husband's affection, Frou-Frou drifts into an affair with a wealthy roué, with tragic results. Rainer gives a very fine performance as the innocently destructive Frou-Frou and is an absolutely enchanting presence on screen. With Barbara O'Neil as the more serious-minded older sister, Robert Young, bland as always as Frou-Frou's lover, and H.B. Warner, Alma Kruger and the very pretty black actress Theresa Harris (in a truly offensive role as Frou-Frou's maid. You'd have to see her in something like Miracle On 34th Street to appreciate how very different, and dignified, she really was).

Luise Rainer gives a beautiful performance as "The Toy Wife," a 1938 film. After she won two consecutive Oscars, roles for this beautiful, petite actress were difficult for MGM to find.

Here she plays Gilberte, a young woman known as Frou Frou, who comes back to Louisiana after living in France and captivates New Orleans. Her sister, Louise (Barbara O'Neill) is in love with George (Melvyn Douglas) but he falls for Frou Frou and marries her. They have a son, Georgie. Though George loves her, he has to admit that she is not much of a wife and mother. She's childlike herself, a playmate to her son, impractical, and an airhead.

George brings Louise to live with them and take care of the household and Georgie. Meanwhile, Frou Frou is rehearsing a play with a man who is in love with her, Andre (Robert Young). Over time, she realizes that Louise has taken over Georgie, and her husband, occupied with work, is less interested in her. When Louise receives a marriage proposal and turns it down, Frou Frou blows her top and lets her sister know what she really thinks of her. "You don't want your own husband and children, you want mine!" she screams. That night, she runs away with Andre, embittering George and putting Andre in danger.

This is a very good movie with a wonderful performance by Rainer, who is surrounded by an excellent cast. The costumes are gorgeous.

The character of Frou Frou is so sweet and loving, it's painful to see what a mess she makes of her life and the lives around her.

After Irving Thalberg's death, Rainer left Hollywood, dissatisfied with what Louis B. Mayer had to offer her. She married Clifford Odets and, after that ended, left the country. She married again, had a child, and continued to work on and off over the years, as late as 1997's The Gambler.

Luise Rainer was a great treasure unappreciated by MGM. She brought beauty and excellence in performance to everything she did. But MGM figured she had two Oscars so they could give her anything, and they did. She was miserable. But she liked this film very much, as well as her costar, Melvyn Douglas.

This is a seldom seen film. We caught it on TCM, the best source for some of the best classic films of all times. The main attraction in watching this 1938 movie was a curiosity for watching Luise Ranier at the height of her Hollywood days.

As directed by Richard Thorpe, the film has its merits. This movie, based on a play, seems artificial, but that was the taste of those days and it will not disappoint, although it is a typical melodrama. The art direction of Cedric Gibbons is evident in the lush interiors of the elegant New Orleans mansions and the antebellum plantation owned by the Vallaire family.

This is a story about two sisters who loved each other dearly, but their relationship suffers a blow as George Sartoris will ask the flighty Gilberte "Frou Frou" Brigard to marry him instead of the woman who really loved him, her sister Louise. Frou Frou, a frivolous girl, only wanted the glamor of the social life in New Orleans. She liked George, but she never felt anything for her husband. Dashing Andre Vallaire awakens a fatal passion in her. In fact, that is her downfall and she lives to pay for her indiscretion.

Luise Ranier plays the young girl well. Her acting reminded us of another star of the day, Greta Garbo, although Ms. Ranier was not a product of the silent era. Both believed in the large gestures as a way to emphasize the lines they were reciting and both played to the camera in similar fashion. In fact, she sticks out from the rest of the cast, which obviously had another approach to acting.

The dashing Melvyn Douglas was good as George. Barbara O'Neil is perfect as the Louise, the noble sister that gives up her own happiness to make George happy. Robert Young cuts quite a figure as the handsome Andre. Alma Kruger, H.B. Warner, are seen in minor roles.

The film is a curiosity, and it should be seen as such because it probably will resonate with admirers of the classic films of that era.

The reviews should help potential viewers decide whether or not they will like a movie. I thought there were certain aspects of this movie that were exceptionally good so I was surprised to see a below average rating. When this occurs, I often see a sharp disparity in the reviews where one group loves it and another group thinks it a flop. Both are valid subjective comments. Readers should read a couple of reviews from each of the two groups and see which group they identify with and view or not accordingly. I belong to the former group. I was blown away by the fantastic performance of Luise Rainer, arguably the best actress of her era - it was exactly the characterization the original play and movie called for. In contrast, when the movie came out, critics did not like it and it didn't do well at the box office (suffering a small financial loss). Critics called it too melodramatic, but melodramas have always been one of the major genres of movies - especially in the '30s and still survive today. Critics called Luise's performance "too feminine" (NY Times) and too animated. Those criticisms are a bit like calling a Boris Karloff horror film "too scary" - if you don't like horror (or melodrama), then don't watch horror (or melodrama). The movie and story line are NOT on the same level as, say, Gone With The Wind, but it's a good B level melodrama with all supporting actors and others doing A level jobs albeit on a modest budget. Individual reviewers thought Luise's style was too animated, but that's what the role calls for and her Oscar winning performance in The Good Earth had was no animation as that's what that role required. Others thought Luise's acting style was too different than the other actors. However, the others were playing "normal" people whereas Luise was portraying a character that was qualitatively different and doing it perfectly. The key theme is the Melvyn Douglas character (solid, all business, male) falling in love with Luise's (animated, happy-alive, ultra female) character. I've seen Luise's character in real life - rare, but still seen again and again - and those who are like Melvyn's character are very strongly attracted to her as they seem to sense that she will add another dimension, or two, to their life. Melvyn's character falls for Luise's character because of who she is - her personality. But then, to be brief and not give too much away, Melvyn's character begins to become disenchanted and critical as she's not more like him. This is a deep theme for a melodrama. Being fiction, there are many possible endings and many may have been disappointed (and lowered their rating) by the chosen ending not matching their preferred ending - I preferred a different ending, but my subjective choice is NOT inherently better than the chosen ending. And as I reflect on the movie, I'm free to change the ending to fit my taste.