Le tourbillon

Jack Holt is OK in this film but Jean Arthur saves it. The plot is unbelievable, but is noteworthy since it was Arthur's first film for Columbia after her return to Hollywood from the New York stage. Her previous films at Universal were forgettable. According to her biography, it was when executives saw the daily rushes, that they offered her a long term contract.

This movie is also notable in that Frank Capra reviewed her scenes and decided to offer her the part as Babe Bennett in the now classic Mr. Deeds Goes To Town. You can understand why he picked her. It was the beginning of a successful film period, which lasted 20 more years.

It is also interesting and funny to see Allen Jenkins, in a typical side kick role, particularly when he is doing knee bends in front of a window in his underwear.

I only caught the last third of this film the other morning, but it was enough to show me what a wonderful job Jack Holt does as a little girl's father. Because even at twenty-one, she is still his little girl. It makes everything that follows worth it. I have two (eleven and five), and the end of the film breaks my heart. Some other films that feature moments of paternal love include: China Doll (Victor Mature); Desperate Hours (Fredrick March); Kramer vs. Kramer (Dustin Hoffman); The Taking of Peggy Ann (look for David Soul on this one); The Green Berets (Jim Hutton); True Grit (the other Duke saying goodbye to Mattie Ross); It's a Wonderful Life (George Bailey with Zsu Zsu's petals); Man on Fire (Denzel Washington parleying for the life of his ward); Twilight Zone - Episode: Little Girl Lost;

Way to go, Duke.

• JKHolman

The premise of this well-made melodrama is far-fetched: A newly-married man (Jack Holt) is sentenced to 20 years for manslaughter. Once in jail, he fakes his suicide in order to allow his pregnant wife (Lila Lee) to lead a life not bound to a prisoner. Some years after his release, he meets his daughter (Jean Arthur), who recognises him from a photograph her mother has kept, and complications ensue - mainly because his wife has meanwhile married another man, which exposes her to the charge of bigamy. Despite the complicated set-up, the story works. In fact, it works very well, thanks to the two brilliant leads Holt and Arthur. Others might have overacted melodramatic roles such as theirs, but not these two. Holt is great in an understated way, and Arthur plays her part really touchingly without overdoing it. By 1934, she had been in the film business for more than a decade with at best middling success, but after this film, Hollywood would never again overlook her. Don't so so either - take a look at 'Whirlpool'; it's worth it!

This film contains the stuff of soapy melodrama (improbable plot, stock characters of shallow dimension, sensational scenes), but it contains more. Jack Holt, father of the athletic cowboy Tim Holt, plays a man devoted to his family at high personal cost that he pays without hesitation. Holt also glides through his role as the captivatingly handsome "man's man" that he naturally was. Further, into various scenes, for those who care about such things, Jean Arthur brings familial heart and soul that is breathtaking. Though formulaic, admirable and efficient filmmaking with a heart makes "Whirlpool" engaging and memorable..

Jack Holt is great in this rather ornately written melodrama. He plays a man sentenced to prison for twenty years, whose pregnant wife refuses to divorce him. He sends her a letter that he has committed suicide in a way that leaves no corpse. We then fast forward twenty-five years. Jack is now a reclusive night-club owner and his daughter is Jean Arthur, a newspaperwoman who figures out who he is. In order to protect her mother, who has remarried, from public scandal, Holt has to disappear again.

The rest of the movie is about the complications surrounding the latter events and Jack Holt gives a better performance than I have ever seen him give, enormously underplayed by his usual standards. Jean Arthur has to contend with some lines that have not aged well, as does juvenile Donald Cook.

Nonetheless, throughout all this, the performances as as good as they can get under old hand Roy William Neill. Like many silent directors, Neill had retreated to the Bs -- although this is definitely an A picture from Columbia. Even so, Neill always worked well and carefully and this is a fine effort, the visuals perfect under a crack team of three cinematographers and half a dozen camera operators that included Joe August and Ben Kline.

In short, while the dialogue may occasionally make you roll your eyes, everything else about this movie will keep you intensely interested.