Le goujat

Noel Coward is perfectly cast as a suave, vain, selfish well educated, upper class publisher. The literary crowd that congregates at his office is equally lacking in depth and seems concerned only with their status and success. They constantly meet at Noel Coward's publishing office in the hope of gaining favor for their next book and to make sure they are not left out on the latest gossip in the artistic realm.

Cora is a young idealist and poet who believes her love can change Noel Coward and that they can establish a long lasting relationship. She ends her relationship with her fiancé to become Noel's lover. However Noel returns to his playboy ways after 6 months and ends the relationship. This breaks Cora's heart and she eventually returns to her fiancé who has since lost his job and self respect after losing Cora.

The story picks up when Noel Coward leaves New York City by plane chasing after a new lover, a concert pianist who is just as shallow as he is. However a storm is encountered and the plane crashes into the sea killing Noel. God takes pity on him and grants him one month on Earth to find someone who will cry for him, otherwise he is condemned to wander the Earth, never to find rest, for all eternity.

The climax takes place on a dim, rainy night and ends with a prayer and a miracle. A strange redemption occurs. The death experience teaches Noel the true values of life, although his former associate artists are incapable of understanding his message.

The film has beautiful music and the scenes are classic film noir. Unfortunately it is not on DVD or VHS. For those who enjoy this type of movie it is a classic masterpiece. Noel Coward's dialog is sharp and witty and no one could play the part better.

This film is very old style; early days of the talkies. In the beginning of what we now think of as the film industry there was a good deal of holdover from stage work. D. W. Griffith had shown film makers what was possible but it hadn't really taken hold yet. MacArthur, Hecht and Coward were playwrights experimenting with film making. This film was essentially a platform for clever dialog, such as could be expected in one of their stage plays. You can't judge it by modern cinema narrative standards. You can only appreciate it for itself. The emotions are rather raw and the characterizations are somewhat simplistic but that's because it's all just backdrop for the dialog. Speaking of which, at one point Coward's character is speaking to the girl whom he has seduced and abandoned. She is sobbing her heart out and he says, "Tears always make me crueler than I really am." He then goes on to say, "I can't cry for my sins. If I could I would now. I don't particularly like myself." Truly cruel people are forever saying how much they dislike being cruel. Characters in Coward's plays always come off as being flip and shallow but somewhere down deep, they are sincere. I've read that in real life Coward was one of the nicest people you could know. Perhaps he was simply afraid of emotion, afraid of being hurt.

Watching Noel Coward in an extremely unsympathetic role is interesting in itself. He does well, too. Julie Haydon is good as the innocent woman he seduces.The supporting cast is fine.

The editor Coward plays is shockingly cruel. He knows he is and revels in it. But the movie takes an unfortunate turn: Without revealing anything, I will say that it turns from cold-hearted and dark to mystical. Hecht was a brilliant screenwriter, and Charles MacArthur, his co-director, was a fine playwright as well. But I think one "Specter Of The Rose" is enough. "The Scoundrel" is better than that movie but it veers uncomfortably close to it.

The Scoundrel is a fantastic film which takes the viewer on an emotional and linguistic journey that reminds one of the power of the film medium. Everything from costumes to sets and lighting changes for the darker in a brilliant way. The whole film shifts in tone radically and boldly. The character MALLARE, whom Noel Coward plays, expresses the psychology of the dark side of humanity in times of love. He articulates what few rarely say, and this makes the dialog exceptional. The perception of human nature. Hecht wrote the pseudo-decadent Huysmans homage FANTAZIUS MALLARE some years before, hence the character's name, I'd imagine. The movie dialog is rich, baroque and sardonic as well. The poet's works were clearly inspired by maxwell Bodenheim's poetry and persona and are hilarious. A real treat.

If you haven't seen "Crime Without Passion", the previous Ben Hecht - Charles MacArthur collaboration made in 1934, "The Scoundrel" will strike you as a particularly interesting and unusual film; if you have (like I did, yesterday no less) it will still be interesting, but you can not help but notice that the two writers-directors are essentially reworking the same main theme (and character), to the point where it sometimes feels as if you're watching the same movie (except made with less style this time). Ultimately, it's a moralistic fairy tale, but Noel Coward gives a tour-de-force performance in a rare acting gig. Warning: do not read IMDb's plot summary - it practically gives the entire movie away! **1/2 out of 4.