Não Cobiçarás a Mulher Alheia

For some reasons all three of the big screen versions of Sidney Howard's Pulitzer Prize winning play They Knew What They Wanted have been unavailable for years. Not seen on television and not out in any form, it certainly was lucky that someone put this out on YouTube. Also unusual in that the only Oscar recognition this film got was William Gargan's nomination for Best Supporting Actor as the Christian role in Sidney Howard's twist on the Cyrano DeBergerac story.

Charles Laughton is a lusty Italian immigrant who's got the biggest ranch in the Napa Valley in California and he's the richest guy around. Laughton with his Italian accent gives a Mediterranean flavor to his own Oscar winning role that of Henry VIII. That scene at the feast where he shows off his strength and vitality reminded so much of the wrestling scene in The Private Life Of Henry VIII.

But unlike a king who can just command a marriage to his royal person, Laughton for all his wealth and power is not the handsomest fellow around. So when he decides to marry waitress Carole Lombard, Laughton sends a picture of that handsome devil William Gargan who's known to be a devil with all the local women.

Lombard is cast against type, she's usually an urban girl of some means. She sees no future just slinging hash and snappy dialog in her hash house job and she accepts the Laughton/Gargan proposal. She even agrees to go through with it after meeting Laughton. But afterward the story takes a different turn as Laughton is injured and in a long convalescence of his 'tibia and fibula' Lombard starts looking at Gargan and Gargan starts looking back.

I won't go any further except to say that the ending here is not what Sidney Howard originally wrote. But the Code was in place and Howard having died the year before was in no position to complain. It ruins the film though, but the Code had to be served. Great performances by Laughton and Lombard are wasted. Gargan who usually played all kinds of police roles in and out of uniform was also good in a role that was against type for him as well.

Still a chance to see legends Lombard and Laughton together is worth it. They were together in a bad film years earlier when both were under contract to Paramount called White Woman. They Knew What They Wanted is so much better.

I saw this old movie around the late 50s on Australian television. Aged about twelve, I thought Charles Laughton was just about the best actor of all time.

Putting his performance as Tony Petucci into context, back then we regularly saw movies he made in the 30s and 40s. Charles took on roles almost like Theatresports' challenges. One minute he's tossing chicken bones over his shoulder as Henry Vlll, next he's Captain Bligh sneeringly offering cheese to Mr Christian. Then we get Inspector Javert in "Les Mis" with an expression as though his piles were active.

The guy just jumped into character after character. Most amazingly, he was Quasimodo swinging on the bells in "The Hunchback of Notre Dame" and plenty of others. What other big star stepped so far from their comfort zone so often? Clark Gable used to balk at shaving off his moustache for a role or growing one.

Hitchcock once said, "You couldn't direct Laughton, only hope to referee him". In "They Knew What They Wanted", Charle's Tony was definitely at the extreme end of the Hollywood Italian stereotype, but maybe some of it was down to the very contrived situations. Simon Callow in his superb dissection of Charles Laughton's life and career, "A Difficult Actor", tells how the actor worked hard at the part, often derided by director and cast.

However for such an unathletic looking guy, you have to admire Laughton's agility and strength especially in the party scene. At least they didn't have a grape stomping scene.

If you want to feel better about Laughton's portrayal, check out Edward G Robinson in the earlier version of the story, "A Lady to Love". It's as though Edward G had never met a real Italian.

Against Laughton's fireworks the other actors underplayed almost to the point of inertia. Maybe Lombard hit the right note as Amy, whose empty life is summed up when she reluctantly finds a moment of passion with the uncharismatic Joe (William Gargan). Frank Fay's Father McKee is just weird, more like a morals commissar than a priest.

Still, Napa Valley looks fine and we have a good Alfred Newman score. The film has a better second half, and an ending that is strangely bittersweet.

Charles Laughton goes sort of over the top in this little movie. The plot is reminiscent of "Postman Always Rings Twice", i.e. sweet lil' immigrant meets girl & loses girl to employee, but without James M Cain's violence. Laughton's Tony really is a most happy fella, & Lombard is as usual, steamy. Totally by chance, I happened to do a double bill of this and the 1935 Mutiny On The Bounty. I should have added Ruggles Of Red Gap, Hunchback, Hobson's Choice, and Witness For The Prosecution for a total Laughton immersion. This was filmed on location in an incredibly rural Napa Valley, and if you're familiar with Napa Valley, you may recognize what is now the Calistoga Inn/Napa Valley Brewing as Tony's local cantina/bar. I'd like to see a cleaned up version of this, as the print I saw was verrry dark. Good little movie.

Any fans of the Frank Loesser musical The Most Happy Fella? Did you know it was based off the play They Knew What They Wanted, adapted into two movies before Frank added songs to the story? I'm looking forward to seeing Edward G. Robinson's interpretation, as I'm sure he'd be wonderful, and I was so excited to see my beloved Charles Laughton's 1940 version.

Charles was perfect. He's practically unrecognizable as he transforms into an Italian peasant, trying to make it in America. He's shy and self-conscious, but he still wants to brag and prove himself worthy. He creates a great complex character, so believable as a lonely immigrant looking for love.

For those of you who don't know the story, Charles falls in love with a waitress in San Francisco, Carole Lombard. He observes her from afar and writes to her, offering marriage and a comfortable life on his vineyard in Napa. Carole doesn't have very many options, and she impulsively agrees. However, Charles didn't send his photograph in his letter; he sent the picture of his young, handsome friend William Gargan. I don't know why Bill was the one nominated for an Academy Award when he had the least to do. The other two leads were ignored, and here at the Rags, we were happy to rectify the error.

Who impressed me to no end was Carole Lombard, the queen of screwball comedies thrust into a heavy drama. She completely embodies her character, and you can see her entire history written on her brow. She's exhausted and has very little hope of a better life, and she's endured an incredible amount just to make ends meet. When she arrives in Napa, she's nervous, and even though she thinks it's silly, she's hopeful. She tries to make Charles a good wife, and she hates herself for being attracted to Bill. She doesn't want to ruin her one chance, she doesn't want to be as common as she knows herself to be, and she doesn't want to cause pain in a world that has enough pain in it.

Chances are you've never seen this movie, since it's rather hard to find and hasn't been remastered. Try to find it and get ready to be very impressed.

Pretty darn grown-up for its day, this atmospheric adaptation of the Pulitzer Prize-winning play has waitress Lombard wooed by immigrant winegrower Laughton, becoming his mail-order bride, having an affair with ranch foreman Gargan, carrying his child, and being forgiven for it. (In this version, though, she has to go off and do some Breen Office penance first.) It's one of the very few dramas made under the Production Code where the unwed mother doesn't contract a fatal disease, die in a car crash, or plunge herself off a cliff. Lombard, an unparalleled comedienne, gets to show off her considerable and underrated acting chops, while Laughton does an unsubtle "paisano" caricature that might have been considered great acting in its day (this, after all, was the Paul Muni wig-and-accent era) but has dated badly. Lombard smolders in her scenes with the Oscar-nominated Gargan, their adultery cleverly conveyed by director Kanin through long soulful gazes, dark shadows, and moody music. Some other welcome faces turn up in tiny roles (Karl Malden, Tom Ewell, Nestor Paiva), and the only real irritant is Frank Fay's impossibly noble priest, lit from behind like a madonna and forever mouthing holier-than-thou "God is smiling on us" dialogue. You want to smack him one.

Stage musical fans who want to see how Frank Loesser's great "The Most Happy Fella" plays without music will be pleased to observe how faithful he was to the source material, and the characters' emotions really do sing here. It's a fast and unpretentious little film, and another reminder (as if we needed it) of how badly we were robbed by Lombard's early death.