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The Keyhole

  • 1933
  • Passed
  • 1h 9m
IMDb RATING
6.4/10
813
YOUR RATING
George Brent and Kay Francis in The Keyhole (1933)
SatireComedyDramaRomance

A woman (Kay Francis) with two husbands (Monroe Owsley, Henry Kolker) tries to divorce one of them by heading down to Havana where things get more complicated.A woman (Kay Francis) with two husbands (Monroe Owsley, Henry Kolker) tries to divorce one of them by heading down to Havana where things get more complicated.A woman (Kay Francis) with two husbands (Monroe Owsley, Henry Kolker) tries to divorce one of them by heading down to Havana where things get more complicated.

  • Director
    • Michael Curtiz
  • Writers
    • Robert Presnell Sr.
    • Alice D.G. Miller
  • Stars
    • Kay Francis
    • George Brent
    • Glenda Farrell
  • See production info at IMDbPro
  • IMDb RATING
    6.4/10
    813
    YOUR RATING
    • Director
      • Michael Curtiz
    • Writers
      • Robert Presnell Sr.
      • Alice D.G. Miller
    • Stars
      • Kay Francis
      • George Brent
      • Glenda Farrell
    • 23User reviews
    • 6Critic reviews
  • See production info at IMDbPro
  • See production info at IMDbPro
  • Photos10

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    Top cast21

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    Kay Francis
    Kay Francis
    • Anne Vallee Brooks
    George Brent
    George Brent
    • Neil Davis
    Glenda Farrell
    Glenda Farrell
    • Dot
    Monroe Owsley
    Monroe Owsley
    • Maurice Le Brun
    Allen Jenkins
    Allen Jenkins
    • Hank Wales
    Helen Ware
    Helen Ware
    • Portia Brooks
    Henry Kolker
    Henry Kolker
    • Schuyler Brooks
    Ferdinand Gottschalk
    Ferdinand Gottschalk
    • Brooks' Lawyer
    Billy Gilbert
    Billy Gilbert
    • Cuban Carriage Driver
    Irving Bacon
    Irving Bacon
    • Grover - Brooks' Chauffeur
    • (uncredited)
    Maurice Black
    Maurice Black
    • Cuban Jewelry Salesman
    • (uncredited)
    George Chandler
    George Chandler
    • Joe - Desk Clerk
    • (uncredited)
    Heinie Conklin
    Heinie Conklin
    • Mr. Smith - Man Exiting Room 410
    • (uncredited)
    Gino Corrado
    Gino Corrado
    • Gino - Hotel Metropole Waiter #2
    • (uncredited)
    Bill Elliott
    Bill Elliott
    • Partygoer
    • (uncredited)
    George Humbert
    • Hotel Metropole Waiter #1
    • (uncredited)
    John Sheehan
    John Sheehan
    • Ship Bartender
    • (uncredited)
    Leo White
    Leo White
    • Porter in Cuba
    • (uncredited)
    • Director
      • Michael Curtiz
    • Writers
      • Robert Presnell Sr.
      • Alice D.G. Miller
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews23

    6.4813
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    Featured reviews

    7mukava991

    fast-paced and entertaining

    THE KEYHOLE has a clear plot hook, strong characters (you love 'em or hate 'em), non-static cinematography and colorful details that keep you entertained from the first frame. A number of Kay Francis movies had a similar plot structure: wealthy, beautiful, fashionable, sophisticated woman with man problems, usually triangular, but in this case quadrangular. Michael Curtiz keeps this one moving at a fast clip. In this particular plot, Francis's nasty ex-husband (Monroe Owsley) is blackmailing her while her jealous, aging current husband (Walter Kolker) hires a dapper private eye (George Brent) to follow her to make sure she's not seeing another man and of course Brent and Francis fall in love. Allen Jenkins (as Brent's dopey sidekick) and Glenda Farrell (as a crooked golddigger) are on hand as comic counterpoint to the lead players. Francis is charming as usual, exhibiting her trademark "look" - the raven hair swept back to show off her natural widow's peak, the unique eyebrow penciling that curves around her melancholy eyes, and the statuesque grace; and of course her character goes through about 15 costume changes in the 69-minutes of running time (a different drop-dead outfit for every segment of the day). The public inevitably tired of her, which is why she is forgotten today; she was more interested in her salary than in the quality of her roles, as she freely admitted. But when she was in her prime, wow, what a prime. Moving with feline grace in backless satin gowns, she is phantasmal and ravishing, yet still earthy, accessible and even vulnerable. You can't look away. So what if she couldn't pronounce her r's?
    51930s_Time_Machine

    Cinematic version of a tasty bacon sandwich

    You just need to see a few seconds of this and you know exactly what you're getting. It's the sort of movie that can only be an early thirties Warner Brothers: wonderfully corny, fast moving fun.

    Did the writers sit around a table playing a game of 'who can come up with the daftest story?' In this lovely chunk of 1930s life, a millionaire tests his wife's fidelity by seeing if gigolo, George Brent, whom he's hired to seduce her can tempt her into bed..... and to pointlessly over complicate things, she's also married to someone else as well. Only in pre-code!

    It's no classic but it is classic Warner Brothers, encompassing every trope you'd associate with that studio - great stuff! The cast is also the classic ensemble of cold-hearted rich folk, a slightly shady hero, Kay Francis doing the thing she always did, an idiot friend, a saucy gold-digger and a Captain Hook type villain - only the bumbling Irish detective is missing.

    If you enjoy those cheap and tacky Warner pre-codes which are nevertheless professionally made (Michael Curtiz was in the chair here) or just watching Kay Francis doing what Kay Francis does, this should float your boat.
    10tcchelsey

    KAY FRANCIS AND GEORGE BRENT.

    I've been watching Kay Francis for decades and this is one classy lady. Her career can best be compared to Greta Garbo, as they both experienced enormous success in the 1930s and a decade later left Hollywood, retired, never to be seen again. Fortunately, their films are still with us.

    THE KEYHOLE is pure escapism. And let's face it, this would not be a Kay Francis movie without a dynamic wardrobe to match. Bottom line, whether you're going to dinner or going to jail, you must be dressed to impress. This is IT. Also, a few years before his pairing with Bette Davis, earnest George Brent was Francis' leading man, and in fine form here playing a detective, who --quite naturally -- falls for this beautiful lady in distress.

    Kind of a corny plot, but it all comes smoothly together, because it's a Kay Francis movie. Best of the best at Warner Brothers are the supporting players. Who else but wise-cracking Glenda Farrell and Allen Jenkins are added to the cast to work their magic, and they do.

    Michael Curtez directed, but considering the talent, the wisest thing he probably did was not get in their way and just let it flow. A real treat to watch from beginning to end. These 30s movies truly are like old friends who never wear out their welcome.

    10 Stars.

    Always on remastered WB dvd. Thank you so much to TCM for running this gem.
    7boblipton

    Michael Curtiz Seems Happier With The Cynical Side Of This Movie

    Henry Kolker suspects his young wife, Kay Francis, of having a lover. She is taking ship to Havana. So Kolker hires PI George Brent to shadow her and get the goods on her. What neither of them suspect at this stage is that the real issue is that Kay Francis is still married to her first husband, slimy Monroe Owlsley. Her plan is to get a divorce in Havana. She doesn't expect Owlsley to follow her to put on pressure, nor to fall in love with Brent, and he with her. That's just the inscrutable workings of fate and the Warner Brother script department.

    It was originally planned as another team-up between William Powell and Miss Francis. I expect it would have worked better that way. Nonetheless, Brent acquits himself well. So does Allen Jenkins as his assistant. He falls for b-girl and kickback artist Glenda Farrell in a nice little comic subplot. Still, the focus is on the leads, with Miss Francis sporting her usual variety of Orry-Kelly gowns and portrait photography by Barney McGill.
    6TheLittleSongbird

    Fidelity through the keyhole

    Kay Francis was always watchable. George Brent for me was more variable, but in the right role he could be good. Need to see more of Glenda Farrell's work, but in the not enough already seen she came off well. Haven't seen enough of Allen Jenkins either, but from what has been seen when his material was good and gelled well with everything else he was fine. Always have considered Michael Curtiz a fine director, am not going to say what films of his are favourites of mine as it will sound too much of a broken record.

    While 'The Keyhole' is watchable and Francis (not unexpectedly) and Brent (was not quite as certain) come off well, it didn't strike me as a particularly great film. In my mind it's lesser Curtiz too, as it was not material to properly engage in and not enough of his style comes through, this had a still settling feel instead. Some good things here and they are actually quite great, but 'The Keyhole' also has some serious drawbacks that in my mind are even more obvious.

    Francis is glamorous and sophisticated and never plays her role too heavily. Brent is very charming, giving one of his most suave performances, and has a strong presence. Their chemistry is witty, endearing and elegant as one expects typically from golden age romance, so the romantic angle of the story convinces very much. Monroe Owsley is suitably oily and Farrell is amusingly brassy. Most of the cast come off fine.

    'The Keyhole' also looks lovely, especially Francis' gowns which she looks quite a sight in. The music fits well with the tone of the film without sounding stock. There is some nice wit in the chemistry between Francis and Brent and the story tends to go at a lively pace.

    Despite that, the story is predictable and can be nonsensical. Capped off by a suddenly introduced and that's it ending that makes one go what. Curtiz's direction usually has a lot more spark and style than here.

    Script is uneven, often sparkling with Francis and Brent but flat too much everywhere else. Also agree with not seeing the point of Jenkins' character and Jenkins feels too out of place.

    A just above average film but not great. 6/10

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    Storyline

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    Did you know

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    • Trivia
      While on the ship's deck reading on their lounge chairs Anne Vallee next to Neil Davis was reading the Nov 19, 1932 issue of The New Yorker that dealt with relations of class during the Great Depression.
    • Goofs
      In the restaurant of the Hotel Metropole in Havana, the supposedly Cuban waiters (one of whom is referred to as "Pedro") speak to each other in Italian rather than Spanish. The actors playing these roles, George Humbert and Gino Corrado, were both born in Florence, Italy.
    • Quotes

      Ann Brooks: [to Maurice] And the next time you try to kill yourself, let me know; I'd love to help you.

    • Connections
      Remade as Romance à Rio (1948)
    • Soundtracks
      Am I Blue?
      (1929) (uncredited)

      Music by Harry Akst

      Played on the radio in the opening scene

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    Details

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    • Release date
      • March 25, 1933 (United States)
    • Country of origin
      • United States
    • Language
      • English
    • Also known as
      • Genom nyckelhålet
    • Filming locations
      • Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, USA(Studio)
    • Production company
      • Warner Bros.
    • See more company credits at IMDbPro

    Box office

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    • Budget
      • $169,000 (estimated)
    See detailed box office info on IMDbPro

    Tech specs

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    • Runtime
      • 1h 9m(69 min)
    • Color
      • Black and White
    • Sound mix
      • Mono
    • Aspect ratio
      • 1.37 : 1

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