The Devil's Holiday

Nancy Carroll plays a young, worldly woman who baits young men for a confidence trickster in the form of the dead-pan delivery vehicle - Ned Sparks. Her victim is the young Phillips Holmes in probably one of his better roles. He is the son of wealthy farming stock of whom the patriarch is Hobart Bosworth delivering his lines as if preaching a sermon in the quaky-voiced method so fondly used by actors of his august vintage.

Carroll and Holmes marry despite opposition from Bosworth and Holme's fiery brother - James Kirkwood. Of course the marriage is a sham, the idea was for Carroll to get a cheque for $50,000 from Bosworth to walk away. Complications ensue. Just realize that many of these pot-boilers seem to have been brewed from the same recipe,

Nancy Carroll became a very popular star in the early reign of talking pictures and perhaps had the good sense to retire at the top of her game in 1938 (she did come back to do some later work from 1948 onwards). She was a vivacious creature and an all-round talent in that she was originally a singer and dancer from the stage. She is an asset to this picture as she appears at all times to be so natural.

Phillips Holmes was a handsome leading man who started off promisingly and then never seemed to go anywhere. Tragically his life was cut short during the war in an airplane accident.

Hobart Bosworth was already 68 in 1930 when this picture was made and his style belonged to an age even further back - but it is interesting just for that very fact. He is a living link to the acting style of the last quarter of the 19th Century.

James Kirkwood was an actor who had taken up directing, but as he apparently didn't get many calls for the latter type of work, decided to revert to the former. He was around for many years - usually in bit roles as the years progressed.

Also in the cast were Paul Lukas as a forceful psychiatrist and Morton Downey as a tenor.

Right from the start, you know what you're going to get. A well made (amazingly well made for 1930) fast-paced, crazy romance with a subtle sense of humour. Possibly it's Nancy Carroll's best film?

The first few minutes set the scene: in a stylishly lit hotel telephone exchange, chiseller Ned Sparks is searching, like many others for Hallie, a girl whose talent is to persuade businessmen by her 'favours' to sign any deal. This scene is a symphony seediness with wonderful 1930s accents: Zasu Pitt's a droning midwest descant against Ned Sparks' crazy deadpan Gangsterville. In just those first minutes, you know two things: 1) this is going to be good and 2) this is NOT one of those typically terrible, stagey, static pictures so common in very early talkies. It has a much more modern feel than you might expect from 1930. If you didn't know you might guess that this was made years later.

Then the screen lights up a Hallie, Nancy Carroll appears. It's probably the lighting but it seems like all the light, the life and the energy is coming from Nancy Carroll. For the next hour she glows and completely owns every frame. You can see exactly why these businessmen would be persuaded by her presence to agree to whatever deal she is being paid to promote. It's not just her pretty face, it's her joy, love of life and bubbly personality which makes her so irresistible to men. It's an astonishing performance - she should have won the Oscar instead of Norma Shearer in THE DIVORCEE; she's ten times more believable.

In fact the whole film is ten times more believable than Norma Shearer's film. Well, it is when you're watching it - but don't think about the plot too much. Besides Nancy Carroll, the other reason this is so good is down to its director Edmund Goulding. He actually wrote this (and wrote the music too!) so this was his pet project - he loved this film and put all his skills and efforts into it.

The result is a completely enthralling, naturally acted pot boiler. You don't notice how stupid the plot gets, you don't notice that Hallie's love interest, Phillips Holmes is the most pathetic, feeble-minded drip in the world. That someone so full of life as Hallie could love someone like this is absurd but you'll be so drawn into this that you'll not question it. That's the skill of a good movie: to make the unbelievable believable.

Beautiful manicurist Nancy Carroll (as Hallie Hobart) sets her sights on handsome Philips Holmes (as David Stone), the son of wealthy wheat farmer Hobart Bosworth (as Ezra Stone). Professing to hate men, Ms. Carroll is only interested in luring Mr. Holmes in for a lucrative business deal. Holmes easily falls in love, but older brother James Kirkwood (as Mark Stone) brands Carroll a low-life gold-digger. To get even with the straight-laced Stone family, Carroll accepts Holmes' marriage proposal. Then, while Carroll and the family negotiate the cost of her departure, she falls unexpectedly in love…

Well, make that expectedly… "The Devil's Holiday" is a creaky, but worthwhile "early talkie" drama. First of all, it features Carroll's second-place finishing "Academy Award" performance as "Best Actress" (Norma Shearer won for her "Divorcée"). At the time, Carroll was a considered a "new" talking pictures star; in that respect, she was the first "talkie"-dominant actress to move in on the "Quigley Poll" top ten list of established "silent" stars. Carroll was #10 in 1929, and seemed assured of super-stardom with the new dramatic range she showed in "Devil's Holiday" (where she displayed real sweat and tears).

Holmes is also at his best, playing the love-struck rich kid with wide-eyed innocence. And, he gets one of those great "smacked on the staircase" scenes. Holmes falls in love three times in this movie, but only for Nancy Carroll. She and Holmes had great chemistry, as you'll see; and, box office returns dictated they would be re-teamed fairly quickly (for the close to, but not quite "Stolen Heaven"). Writer/director Edmund Goulding manages well considering it was early 1930. You also get two pioneer players, Messrs. Kirkwood and Bosworth, in featured roles; and, the minor cast members are used very well.

******* The Devil's Holiday (5/9/30) Edmund Goulding ~ Nancy Carroll, Phillips Holmes, James Kirkwood, Hobart Bosworth

Stellar performances by Nancy Carroll and Phillips Holmes as well as supporting actors and you are in for a real treat if you like human drama. The directing by Edmund Goulding is able to achieve the right conclusion and you can see that a lot of effort was put into this movie which was produced in 1930, a time when talkies have been out for only a few years. Edmund Goulding also wrote the screenplay for the movie. This movie has substance. There is character development by several characters and spiritual overtones. What is greater than being selfish and "bad" and admitting it? With inimitable virtuosity, Nancy Carroll is able to traverse this course of human change. She incidentally was nominated for an Oscar in 1930 for this movie. Phillips Holmes is able to play his difficult part to the hilt as a naive and sweet character hopelessly in love. Actually, these two are magic together as can be seen in the movies Stolen Heaven and Broken Lullaby.

Hallie Hobart (Nancy Carroll), veteran party girl, works the conventions in the Big City and makes money from the agents who sic her on to prospective buyers - in this case, for farm equipment. Into her clutches falls David Stone (Philips Holmes), fresh from a fall off a turnip truck, and Wowzers! David falls head-over-heels for her and wants to marry her. His family is loaded with money and advice, but David is hearing none of it. He marries her and brings her home to his horrified family.

What follows is hard to swallow. Suffice it to say there is much pathos, contrivance, animosity, strife and bitterness. There is also reconciliation but, as I say, this second half of the picture must be taken cum grano salis. The main reason to watch this soaper is to watch Nancy Carroll's best acting job. Prior to "The Devil's Holiday" she made several lightweight musical comedies, so her performance here is a jolt. In fact, she was nominated for an Oscar for this film but lost to Norma Shearer in "The Divorcée". 1930's audiences were probably prostrate with grief as the weepy plot unfolds, but 1930 is a long time ago.