Housewife

While the premise sounded pretty old-hat and familiar and the title not particularly appetising (not to mention trusted reviewers not caring for it), 'Housewife' did have enough to make me want to see it. The main reasons being Bette Davis, an acting legend, and Ann Dvorak, always a pleasure to watch. But also because of my appreciation of the genre 'Housewife' fits under and of my love for classic, pre-1970s film (though my film taste is made up of all decades and genres).

'Housewife' though could have been so much better. It is watchable and does have its good things, including Davis and Dvorak. There is also though nothing much special in 'Housewife' and has a lot of major drawbacks, with the story almost single-handedly bringing the film down. All did much better work, performances and films, despite coming off quite well this is lesser early Davis in terms of films and even a lot of her previous films are better.

As said, Davis commands the screen without over-doing it, though to me it wasn't a going through the motions type of performance. The best performance as others have said belongs to Dvorak, a sheer delight and perhaps the best and only real exceptional thing about 'Housewife'. The film looks good and is amiably scored.

It does pick up in momentum a little in the middle act where things got more eventful. There are moments where the dialogue isn't too corny or overwrought.

The story sadly badly undoes 'Housewife'. It is a slow-starter and takes far too long to find its footing. For so much of the length, the story is very flimsy in content and what there is is so been there done that that there are so few surprises. Then the film gets very rushed and cramped towards the end, culminating in an "out of the blue", very silly and tacked on ending that doesn't ring true for a second.

George Brent is very take or leave for me generally as an actor, and here he came over as very bland as a character impossible to feel anything for. The direction is very routine at best, which is a good way to sum up too much of the pace too. The characters are sketchy and only Dvorak's has much likeability. The script was in sore need of a tightening up and wit.

All in all, watchable but a big disappointment. 5/10

Until Bette Davis makes a play for George Brent, this film drags badly. Even then, there's little zip in the screenplay although it does become more interesting. Davis had a crush on Brent in high school but left for New York once he married Ann Dvorak, and now is hired as the chief advertising copywriter at the unheard of salary of $25,000 per year by the advertising firm where Brent works. (Brent earns $2,100 a year as office manager.) When Brent quits at the urging of Dvorak and starts his own firm, Davis is lured back to work for him and the trouble starts. This was the type of role Davis could eat up if it were in the hands of more capable screenwriters and the mores of the 30's permitted it. Then it might have been called "Homewrecker," with the emphasis on Davis rather than Dvorak. Still, it's fun to watch the stars and is a good example of an early Bette Davis film.

WARNING: These comments may reveal portions of this film's plot.

This film takes you on a variety of "up's and down's" as you watch a young couple that is struggling during the depression make it big when the wife encourages her husband to strike out on his own in advertising. This portion of the film runs slow, and the entire film seems very melancholy, until the plan works and suddenly the couple is rich, pulling you up.

Then you are pulled back down when the now successful husband hires an old high-school flame onto his staff and starts an affair. The wife won't grant the husband a divorce, however, pulling the mood back down again. To throw a curve into the mix, (as if there weren't enough already), the couple's son is struck by a car. This changes both their minds about the divorce -- now she wants one, and the husband doesn't!

The film ends on another high note, with a happy ending that appears from no where. Up to this point, many portions of the film have run rather slow, just as the beginning of the film. This happy ending appears from no where -- the couple reconciles in the courtroom at their divorce.

Overall, the film surprised me. For a 1934 film to focus on the depression, adultery, and a child struck by a car doesn't seem to be much of the "happy-go-lucky" films of that era when people didn't want to be reminded of their problems -- or so I understood.

Parents, the kids won't like this one since it is a drama. They probably shouldn't see it anyway, considering the philandering of the husband and the car hitting the child. The big draw here is the "other woman," played by Bette Davis. If you can catch it on cable, you might want to check this one out.

Self-described "just a housewife" Nan (Ann Dvorak) is married to hubby Bill (George Brent) who only earns $175 a month as office manager for an advertising firm. Scrimping and saving to make ends meet, she still manages to remember that Sunday dinner isn't Sunday dinner without Leg of Lamb (and even though complains about their lack of income, keeps a maid in the house to help her with her "housework"). Hubby has a meanie boss where he works who gives him no respect, so with wife giving him the push (she's been busy reading "Success" magazine) he quits and decides to start his own advertising firm, with strong wife by his side helping him come up with ideas AND helping him get new clients. And meanwhile - he brings over blonde Pat (Bette Davis) from his old office, a girl who once was in love with him in high school, and stills seems to hold the torch for him.

I guess the plot of this film sounds a bit silly, but I actually liked this a lot, though thought the ending was a bit tacked on and unsatisfying. Bette Davis looks very pretty in this film, and I love the chemistry between her and George Brent. Bonus - I love all the really gorgeous satin and crepe ruffled bias-cut dresses the women wear in this. Very good film, well worth seeing.

HOUSEWIFE (Warner Brothers, 1934), directed by Alfred E. Green, is a domestic story known basically as a Bette Davis movie. Though Davis appears in it, star billing actually goes to her frequent co-star, George Brent, in their third movie together, while the title character goes to third-billed Ann Dvorak as Brent's housewife. Taking second billing under Brent, Davis' role, as the other woman, might have benefited better and favorably for type-cast vamps as Helen Vinson or Claire Dodd, considering the fact that the Davis role is actually secondary and lesser to Dvorak's major co-starring performance.

Plot development begins with the introduction of characters starting off their new day at the breakfast table. William H. Reynolds (George Brent) is happily married to Nan (Ann Dvorak), with a son, Buddy (Ronnie Cosbey), who collects stray dogs, and a housekeeper named Jennie (Leila Bennett). Though Bill has worked as an office manager for Sam Blake (Robert Barratt) agency for five years without a raise in salary, his brother-in-law, George Wilson (Hobart Cavanaugh), who works with Bill, comes in late mainly to improve himself looking for a new and better job. After acquiring a job that pays $10 more than his present salary, Nan feels Bill can do the same, but he lacks confidence in himself in spite of some great ideas that can advance himself with the firm. Entering the establishment is Patricia Berkeley (Bette Davis), formerly Ruth Smith, a successful copyrighter who has known both Bill and Nan during their high school days. Seeing how he's not fully appreciated by Blake, Bill quits. Under his wife's advise and extra savings, he forms an agency of his own called the William H. Reynolds Company. Though he gets Mr. Krueger (Joseph Cawthorne) as his first client, it's not enough for him to survive until Bill becomes more aggressive enough to get one of Blake's most prospective clients, Paul Dupree (John Halliday), a cosmetics manufacturer, to advertise with him instead, taking Patricia along with him. Through the passage of time, Bill's business prospers, with he and his family now living in a luxurious new home with servants, and Buddy being sent to military school. All goes well until Nan notices Bill is spending more time away from home and business in favor of Patricia. Others in the cast include Ruth Donnelly (Dora Wilson, George's wife); Willard Robertson (Judge Edwin A. Matthews); Jonathan Hale (The Doctor) and Charles Coleman (Bolton, the Butler). One song, "Costumes by Dupree" by Mort Dixon and Allie Wrubel, gets vocalized by Phil Regan as Mike Hathaway during a radio broadcast.

A mediocre assignment for future major lead actress, Bette Davis, who might have thought of this assignment as both formula and forgettable. Yet her smoking trademark is evident here but little else except a rare opportunity finding Davis playing the other woman. For this 69 minute production, the film overall moves swiftly more in favor of its featured players of Brent and Dvorak. HOUSEWIFE does offer Davis her second and final collaboration opposite Ann Dvorak, following THREE ON A MATCH (1932), starring Joan Blondell, which Dvorak's role was a lot more meatier than Davis' secondary and smaller performance. John Halliday, playing a rich bachelor business tycoon who finds out what he's been missing after witnessing the Reynolds family life with child, is believably done. Ruth Donnelly as Dvorak's sister-in-law seems a little miscast here, but her role in general is not large enough to hurt the story in any way. Ronnie Cosbey, whom the Dvorak character claims him to be "all boy," is likable as the little son. In spite some similar features, he's not the same little actor from THREE ON A MATCH, actually played by Buster Phelps, minus the curly hair. For the teaming of George Brent and Bette Davis, better roles, particularly DARK VICTORY (1939) were ahead of them. HOUSEWIFE'S sole purpose today is getting a glimpse of its three major actors early in their careers, particularly career woman Davis, better off playing the other woman than just a housewife.

Never distributed on video cassette, HOUSEWIFE often turns up on Turner Classic Movies as either tributes to either Brent, Davis or Dvorak, or broadcast in general showing the now many forgotten films of the 1930s worthy of rediscovery. (** dishes)