La femme X

Other versions of this women's picture I have seen are creaky. This one is not melodrama, or doesn't play like it. It is drama, thanks to its title character.

Gladys George is a sadly neglected actress who worked steadily for her short life. She was attractive but, as in this movie, willing to look like a sloven if the script called for that. Her gravely voice was unique. And what skills as an actress!

The rest of this is more stylishly directed than other versions of "Madame X." But the other performers are mediocre.

This is a must-see for a performance that truly ought to have won an Academy Award for Ms. George.

I loved the decency of this movie. The issues were sensitive for the time period. But, the story did show that there is a price to pay for every mistake. Although the mother/wife was briefly involved in an adulterous relationship it was not glorified or flaunted. It was a mistake that she spent the rest of the movie hiding and paying for.

There were some unexpected plot turns. At different points in the movie, I was able to sympathize with each member of this tragic family. Every character was believable. I found a reason to like or dislike each one of them. I loved how this movie made each villain a victim. It was very easy to follow each character through their lives. Although the mother/wife had many faults, the love for her son makes you love her and feel for her.

In Paris, neglected blonde Gladys George (as Jacqueline Fleuriot) decides to end her affair with a handsome young man. She has decided to patch up her marriage to wealthy lawyer Warren William (as Bernard Fleuriot) and attend to their son. Alas, the timing for Ms. George's turnabout is bad. Another woman discovers the couple and causes an explosive scene. Barely making it home ahead of the police, George learns her own husband has discovered her dalliance. He throws George out on the streets. She drowns her sorrows in alcohol and is passed from man to man. Now mostly drunk, George lets her identity slip while living with deliciously sleazy Henry Daniell (as Lerocle). To protect her adult lawyer son John Beal (as Raymond Fleuriot) from scandal, George gets herself in trouble with the law...

MGM had already released an "all-talking" version of the warhorse "Madame X" in 1929, which resulted in "Academy Award" nominations for its star (Ruth Chatterton) and director (Lionel Barrymore). They didn't get any "Oscar" consideration, but star Gladys George and director Sam Wood do at least as well as their predecessors. The leading role is one with which several of MGM's big female stars could have acted up a storm. While not in the studio's upper tier, George is definitely up for the task. She probably should have been nominated for a "Best Actress" award. In the story's climatic moments, George and Mr. Beal hit melodramatic heights of mythological proportions, but Mr. Wood and his crew move it along beautifully and George keeps you interested in her degradation and fate.

******** Madame X (10/1/37) Sam Wood ~ Gladys George, John Beal, Warren William, Henry Daniell

Not many cheers in this picture but lots of drinking, and drinking, etc. This must be Gladys George's best performance, even better than in "Valiant Is The Word For Carrie" (1936), for which she won an Oscar nom but is rarely on TV. The picture depicts the precipitous fall from grace of a Parisian socialite, who is turned out of her home by her unforgiving husband after an adulterous affair.

So good is she in her role as a fallen woman that the movie is almost unwatchable at times, and the lower she descends the more sympathetic she becomes. Her portrayal of a floozy is perhaps the best characterization you will ever see, especially when she is drunk. There was not one scene in which she was off the mark in this picture - she was 'spot on', as they say.

The film has a 'B' picture feel, with Warren William and John Beal in crucial roles, although I think it was probably an 'A' in its time. I was very surprised and was not expecting George's extraordinary performance. I thought she was better here than Stanwyck was in another soaper, "Stella Dallas" (1937), and she gives you a better rooting interest.

To understand "Madame X" you need to realize it was based on a 1908 French play by Alexandre Bisson (1848-1912) that reflected 19th Century morality. It was filmed in 1916, 1929 (Ruth Chatterton directed by Lionel Barrymore), 1937 (this version), 1954, 1966 (Lana Turner), and 1981. The 1937 version reflects a slightly different morality, not only more recent, but also examined from an American POV rather than the European. Watching it in the 21st century, one has to take all these influences into account.

Gladys George (1904-54) plays Madame X and gives an excellent performance, her career best, and probably among the top 50 performances ever given on film. It's uncanny how she ages 20 years not only in appearance, but in manner, voice, etc. To modern audiences it may look a little over the top, but for the 1930s and set in the early 1900s, it isn't.

George was nominated for an Oscar for "Valiant is the Word for Carrie" (1936) but is probably better known as Jimmy Cagney's moll from "The Roaring Twenties" (1939) or Humphrey Bogart's dead partner's wife from "The Maltese Falcon" (1941).

Warren William (1894-1948) plays George's husband, a wealthy lawyer too proud to forgive Madame X her trespass, sending her away and setting in motion the sad story. William is best known for his role as d"Artagnan in "The Man in the Iron Mask" (1939) and as the first Perry Mason in a series of mid 30s films. His work here is quite good.

John Beal (1909-97) plays George's son, who thinks his mother is dead. Beal made nearly 100 films between 1933 and 1993, usually as a second male lead in B films. He's best known for his role as Judge Vail in TV's "Dark Shadow" (1970-71). He is effective in this role, meant for Tyrone Power, and his final scene with George is a real tear jerker.

Reginald Owen (1887-1972) as a friend of the family and Henry Daniell as a sleaze-bag blackmailer both do their usual good jobs in supporting roles.

Sam Wood directs. He hit his stride in the 30s with this film and "A Night at the Opera" (1935), "A Day at the Races" (1937), and "Goodbye Mr. Chips" (1939). He's also known for "Kings Row" (1942), "Pride of the Yankees" (1942) and "For Whom the Bell Tolls" (1943).

In addition to George's bravura performance, the film has some good looking transition effects and shows the passage of time in a creative way, at least by 1930s standards. The sex and violence are merely hinted at, yet nonetheless effective.

Bottom line - a memorable tear jerker with a truly great performance.