Femmes de luxe

One reviewer here complimented the whole cast of "Ladies of Leisure." Well, I must respectfully disagree. I found Ralph Graves' performance to be rather wooden. Graves had been in films since he was teenager just after Word Ware I had ended, but clearly he found it difficult to deliver a natural performance in the sound medium.

I do recommend the film for historical purposes if nothing else. It was released in the Spring of 1930 and may have been filmed in late 1929. That would definitely qualify "Ladies of Leisure" as a member of that first generation of sound films dating from 1928 to 1930.

One thing I wondered about is whether a boom mic was used. I think someone else opined that hidden mics, placed here and there around the set were still used in this production. I do know from my reading that sound film technology was making progress just about on a week by week basis in those early days.

23 year old Barbara Stanwyck became a leading film star in 1930 with the release of LADIES OF LEISURE, after having starred in two flops in 1929. This is a very slender story of a good time girl who falls in love with a millionaire's son who basically is just interested in her as a model for a painting he wants to do. Given how free-wheeling and blunt most early talkies were on morality, this movie is surprisingly discreet about Stanwyck's character's past. We are supposed to read into the story she's a prostitute (or more accurately, a former mistress) - but in her first scene she is fleeing a yacht party that's too risqué for her!! Stanwyck rings honesty out of a cardboard script and she's got good support from three second-tier silent stars who are quite good in talkies - Ralph Graves as the object of her affection, Marie Prevost as her wisecracking, less prudish pal, and especially Lowell Sherman as Graves' drunken buddy who is very open to being Stanwyck's next sugar daddy yet the best scene is the confrontation being Stanwyck and Graves' mother, superbly played by a somewhat unsung character actress, Nance O'Neil.

The movie's minor fame today rests on it being Stanwyck's first screen success and an early hit for director Frank Capra yet Capra's direction is rather dull and often awkward and the movie is very badly edited with some scenes conspicuously made up of different takes with shot angles and acting rhythms off among other giveaways (to say nothing of the scene where Graves answers the phone and says "Hello" way before the receiver is anywhere near his mouth!!) As mentioned by another reviewer, a "silent" version of the film was also shot (the smaller studios like Columbia were still making silent versions of some of their films up to 1931 for the ever dwindling number of movie theaters that were still not wired for sound), I don't know anything about the silent version being available on video and not the sound film, possibly the silent version fell into public domain and that's why that version alone is on tape, however the sound version still exists and was shown on American Movie Classics in the early 1990's back when that channel actually showed classic movies. Turner Classic Movies, on the other hand, has so many MGM and Warner Bros. films at their disposal they hardly need to go elsewhere for films so it's not likely they will bother to pick up rights to this movie from Columbia. I wouldn't be surprised, however, one day to see it and a number of other early Capra talkies together in a boxed DVD set given his legend as a director.

Considering that movies only began to talk in 1928, this early sound film starring BARBARA STANWYCK as a girl of ill repute (she calls herself a party girl), and RALPH GRAVES as an artist who wants to use her as a model, is not bad at all. It's certainly one of the better jobs in sound recording for a film made in the early '30s. As usual with films of this period, there is almost no music on the soundtrack except for the moment when "The End" is flashed on the screen. In the TCM print I watched, the screen then fades to black while some "exit" music is played against a dark screen.

Stanwyck is the prostitute with a heart of gold who finds a good man and doesn't want to let him go, even when his family objects to their union when he proposes marriage. She is convinced by the mother to give him up--but circumstances change after she makes a rash decision.

Stanwyck is excellent at conveying the brassy qualities of the character, but then reveals the softer nature of the girl as she falls in love with the man who only wants to paint her portrait. The tenderness of the romance that develops is full of nuances that one wouldn't expect from a Frank Capra film. The sentimental ending is more in keeping with his usual style.

RALPH GRAVES gives a quiet, assured performance as the man who finds that he does really love Stanwyck. LOWELL SHERMAN does his usual schtick as an inebriated friend who flounces around making wisecracks. MARIE PREVOST has some good moments as Stanwyck's roommate and NANCE O'NEIL does a good job as Grave's well-meaning mother.

Stanwyck fans will appreciate her well modulated performance.

I'm contributing this mainly to comment on what most of the other reviews say that I disagree with: Ralph Graves was perfect in this role. Yes, he's wooden, but that's what works so perfectly with Barbara Stanwyck. Where it really matters is in their romantic scenes: first on his balcony, then at breakfast and particularly after his father leaves and they really get together for the first time. I'm not saying he's a good actor in general, but they had great chemistry in this film, and that's worth a lot. He's a realistic type of man, very focused and businesslike; some people think an artist couldn't be like that, but that's not true. It's frustrating to see everyone remarking on the clever performances of Marie Prevost and Lowell Sherman and denigrating Graves. The picture hangs together very well precisely because all the roles are ideally cast. Doubtless Stanwyck and Capra supply the magic. It's a film that's new to me, and I keep going back to it.

Frank Capra directed this Pre-Code romance from Columbia Pictures in which Jerry Strong (Ralph Graves) is a high society scion who has grown bored with the hard-partying ways of his contemporaries. He prefers to focus on his passion for painting, and he asks Kay Arnold (Barbara Stanwyck) to be his latest model. Kay is a good-time girl who earns her living as a "companion" to high-rollers. As the two develop a growing romantic bond, Jerry's parents grow disapproving.

I thought this was very good, and that Stanwyck was fantastic, and not only should have been nominated for the Oscar for Best Actress, but should have won (over Norma Shearer in The Divorcee). I've read that many people disliked Graves in the male lead, but I didn't think he was that terrible, although I think the film would be better remembered and acclaimed if Stanwyck's co-star had been someone more noteworthy. Lowell Sherman, as a tipsy party regular, and Marie Prevost, as Stanwyck's roommate and fellow party girl, are wonderful, and perfect examples of great supporting performances. Capra's camera is also very mobile, moving in and out of the shots, creating a heightened sense of activity. I really enjoyed this one, even if the ending rang a bit false. Recommended.