Marianne

While Marianne is not Marion Davies' best effort, it does contain some delightful moments where she absolutely sparkles. Granted her accent isn't all it should be, but give her a break - it was, after all, her very first talkie and her main focus was on conquering her stammer.

I'm not one to normally write reviews, but I just had to remark upon a previous reviewer (niro's) comments. To say that Welles and Mankewicz got it "right" when they fashioned Susan Alexander after Marion is incorrect and just plain mean. Even Welles, in his foreword to Marion's memoir, apologized for making this parallel, saying "To Marion Davies (Susan Alexander) bears no resemblance at all." Reviewer niro also errs regarding the brilliant documentary "Captured on Film" - this outstanding film contains NO inconsequential interviews - with or without "fans". Furthermore, it isn't Joseph Cotten's character who searches to find the meaning of Rosebud, but an off-camera interviewer whom we never see. Tell me, niro, have you ever even seen Citizen Kane OR Marianne?

With the current rush to assure us that Marianne Davies was the victim of a CITIZEN KANE hatchet, job her films are being rather weirdly up rated.

MARRIANNE creaks and what Davies shows here is guts rather than talent, performing in French (of a sort), singing, doing her impressions and delivering the awful `I present you with the air' dialogue with a scary determination, she registers like somebody's mum trapped into appearing in a local operetta society performance.

The studio have poured the best state of the art technique into the piece with varied angles, glossy sets and even a wobbly dissolve in camera to impress the voracious early talkie audience but they would have done better to flesh out the doughboys in Europe plot with more than the two gags they repeat endlessly.

Of the desperate cast, Benny Rubin manages to seem most at ease.

Marianne (1929)

** 1/2 (out of 4)

Three American GI's (Lawrence Gray, Benny Rubin, Cliff Edwards) at the end of WW1 fall in love with a French woman (Marion Davies) but she wants none of it and has to fight all of them off even though her heart might change. Apparently this film was originally made as a silent but the studio went back and re-filmed the entire thing. I'm sure they scrapped an entire movie because of Davies' famous lover but it would be interesting comparing both versions. This one here has a lot of music sequences so it would be interesting seeing what they did in the silent version. Considering this is an early sound film you have to expect some of the rather poor sound quality but Davies performance will have her fans wanting to check this out. There's really not too much story here and certainly not enough to carry a 112-minute film. The movie runs a tad bit too long because it's quite predictable so getting to the ending takes quite a while especially when you know who she's going to fall in love with. The music sequences are all rather strange because they pop out of anywhere and the film doesn't try to hide the fact that many of those doing the singing really aren't that talented in the field. The rather bland singing makes for an interesting experiment and in some ways it makes the film seem almost surreal but at the same time the bad singing works against the "musical" aspect of the film. Davies gets to belt out a couple lines but they're hidden within some comedy. Either way, she turns in a fine comic performance even though her French accent isn't the greatest. The think accent is also hard to understand at times due to the sound quality but it's only a minor problem. The three male leads are all fine in a strange sort of way and they're certainly over the top in a campy but entertaining way.

I have been interested in Marion Davies ever since my first visit to "The Ranch", Wm Randolph Hearst's estate in San Simeon, now a California state park.

Charlie Chaplin considered Marion to be one of the best female comedians (the IMDb spell checker can't find the female equivalent) - the tragedy as I have heard is that Hearst kept pushing her to do dramatic roles. This was one such movie - and I understand her first "talkie" (besides one of the world's first) - there are some scenes of her in a comedy role but I have to say the movie was so boring to me I hit fast forward (it is not in the theaters anymore ;-) ) - just to get to the end.

Of the Marion Davies movies I have seen, so far "Show People" is my favorite - in it you can tell she has a self-deprecating sense of humor about herself and "show people" (particularly if they have met success)

Anyway I think my giving this a "5" was generous - it seem to just wander and wander without a destination until the end.

French farm girl MARIANNE has constant difficulties with the American soldiers stationed in her barn after the Armistice.

This film was the starring talkie debut for Marion Davies, one of the most charming and talented actresses of her day. As the mistress of William Randolph Hearst, one of America's most powerful men, Davies probably could have had her pick of roles. In some respects, MARIANNE is an odd choice. There is virtually no action, most of the scenes take place in a kitchen and a barn, and Davies speaks her entire dialogue, often in French, with a very thick accent. But she is so lively and full of joie de vivre, so infectiously good-natured even when angry, even mimicking Chevalier & Bernhardt, and impersonating a young male officer, that she becomes the main reason for watching the film today. It is indeed unfortunate that Marion Davies' gifts have become obscured and her films nearly forgotten.

Lawrence Gray, who had shown much skill as a comic actor during Silent days and had worked with Davies then, here plays the American doughboy who falls for Marion. The funny business is handled by two of MGM's newest acquisitions, Yiddish dialect comedian Benny Rubin and ukulele-playing Cliff Edwards. Marion's noble French boyfriend is enacted by George Baxter.

As with many other early sound films, the movie suffers with too much talk. However, the recurring musical sequences are mostly quite welcome. The opening scene, with its idyllic look at Marion's village, shows the quality of art direction for which MGM was famous.

And pity the poor pig Anatole!