La déchéance de miss Drake

This is probably the most daring precode picture made. Miriam Hopkins starred and I can't think of anyone else who would have been just as good. Even Harlow wouldn't have worked. She never played such an amoral C.T. as Temple. Jack LaRue was absolutely perfect as Trigger. Such a face. Extraordinarily good looking and yet resolutely menacing. I'll never understand why he never was used as a romantic lead in any of his movies that I know. Read the other reviews for plot details. They are precise. I purchased my copy privately on DVD. I've always wanted to see it. It was worth it. The settings and lighting were extremely good for the story and time in cinema history. Hooray for the director and all of the technicians,

Southern belle Temple Drake (Miriam Hopkins) is attacked and raped by a violent bootlegger. He decides to keep her for himself and she sees no way out...until her boyfriend finds out.

I saw this many years ago (the 1990s) at a film festival and have never forgotten it. Even though they toned down the source material (William Faulkner's "Sanctuary") considerably, this is strong stuff for 1933. The acting is good, it's well-directed and has an ending that censors of the 30s hated (I won't give it away, but you can see why). Seeing it again all these years later on Blu-Ray it still holds up and looks great. It's now pretty tame and dated but good.

It's odd that this pre-Code morality tale was withdrawn by Paramount shortly after release, considering that despite its salacious content it pointed out that the girl at the center was capable of noble redemption. However that may be, "The Story of Temple Drake" works well on its own terms as a story about a flirtatious Southern belle (Miriam Hopkins in one of her best performances) whose behavioral excesses get her into a mighty mess with a band of bootleggers, including a character named Trigger (Jack LaRue in a role George Raft refused) and an embittered harridan interestingly played by Florence Eldridge (real life wife of Fredric March). Both actors benefit from Karl Struss's evocative photography.

Director Stephen Roberts and screenwriter Oliver H.P. Garrett do their early 30's best to cinematize a complicated novel (by William Faulkner) by crunching long passages of text into visually suggestive nuggets. The trouble with the gang of ne'er-do-wells is that none of them have even a twinge of a southern twang except James Eagles as the dimwitted Tommy. Besides him, the only key actor with even a slight southern accent in the whole film is Hopkins. William Gargan contrasts perfectly with the criminals as the clean-cut lawyer who loves and defends Hopkins despite her dark side. The drama builds to a breathless, memorable conclusion, concisely shot and directed for maximum effect.

Provocative and racy this hard to find film is loaded with infamy. If you started watching not knowing it was a pre-code it would only take a few minutes to realized it. Full of a wantonness and sense of depravity that wouldn't be seen in movies for decades after, this sin-fest features rape, murder and many other shocking events with a frank candor. Even the advertising for the film was lurid, just look at the poster to get an idea of how the film was sold. Many of the cast are rather ham handed in their portrayals, William Gargan in particular, but Miriam Hopkins lights up the screen with a vibrant sensuality and a compelling presence. A truly talented actress it's a shame that behind the scenes she was such a difficult and brazen up-stager that it irrevocably damaged her career and shortened her star period.

Just caught this gem last night at the Film Forum during their incredible Pre-Code Women festival!

Top acting honors to Miriam Hopkins, Jack La Rue et al. It is truly amazing how some of the pre-code dramas and comedies (sadly most of them missing from video, much less dvd!) hold up so incredibly well.

While I admire the ingenuity and class that some of the later 30's and 40's movies had in dealing with the Code restrictions, early dramas like The Story of Temple Drake demonstrate the same artistry in handling a sexually frank storyline.

Little Faulkner is left in this, but the mood and atmosphere of this film is superb!