Bad Girl

I finally tracked down Bad Girl. It had been on my list of wanna sees for years as it had won a major Oscar for Best Director- Frank Borzage.It was one of those tantalizing early talkies that had not actually been lost it had merely fell from sight. When I finally saw it last year at a Borzage revival, the film was a revelation.It was a pre-code delight about an ordinary couple, falling in love, struggling financially and having a baby etc.It most reminded me of the great silent film-The Crowd, which dealt with similar matters. What was especially fascinating to me was its depiction of "average" lower middle class types and how they lived and spoke in Depression America. The apartments... the slang, all of it, seemed real. It wouldn't be until the 50's neo realism hit American movies that we would see ordinary people depicted on the screen again, without condescension The movie has all the Borzage trademarks- love surviving against all odds, even an exciting if a little hokey climax.Unfortunately, the film has been slighted often in movie books,most likely, because the authors have never actually seen it. If it is ever shown again, try to see it. It's a wonderful peek at average city folks in Depression America.

Note: some scenes described in detail.

As usual for Borzage, this is full of sentiment, and the details of the plot are deadly. Never was the development of misunderstandings between two inarticulate people more aggressively, one might say more ruthlessly, pursued. When they're not playing "Gift of the Magi" (he giving up the dream of his own radio store for the big apartment he thinks she wants), they're busy each thinking that the other doesn't really want the baby. And how could Borzage resist milking the maternity ward scene, with its inevitable ethnic cross-section, older woman, and troubled mother. And here's another version of that typical pre-Code era film pair, the beautiful girl and the unhandsome blow-hard boob.

All that said, this is still a very good film in spite of itself, certainly deserving of its Academy Award nomination for Best Picture. Borzage constantly redeems himself at the worst moments. A prime example: the evening before the baby's due Jimmy goes out to fight four rounds of preliminaries at $10 a round to pay the doctor. Sally is lying at home, convinced that he's with his drunken friends, or worse, and no longer loves her. Dunn's opponent is a mean-looking, cynical, paunchy guy who's about to knock him out in the second round. Oh, the ironic cross-cutting: he's getting the crap beat out of him, while she lies in bed, anxious and bitter. But, in a clinch, Jimmy begs the pug not to knock him out because his wife's going to have a baby. Why didn't you say so, says the obliging pug, I've got two of my own. In an amusing moment they chat away while pretending to lambaste each other. This takes the curse off the sentimental plot maneuvering.

And there are a lot of other fine sequences, too. The film starts with Eilers in a fancy wedding gown, being attended to by a dresser. She's so nervous, she tells best-friend Gombell, who's dressed as a bridesmaid. As they do the formal bride's walk through the phalanx of bridesmaids, in the corner of the screen one sees part of a tray of dirty dishes being carried by a waiter. Gradually the camera pulls back to show that they're modeling the gowns for a bunch of lecherous buyers. Then they go to Luna Park (nice shots of the park). Throughout these early scenes there are plenty of sharp pre-Code wisecracks about how men only have one thing on their minds. Funny, breezy stuff. They meet Dunn on the ferry on the way home, the first guy that doesn't make a pass. The scene shifts to the couple sitting at the foot of her rooming-house stairwell. As they talk, an old hen-pecked lush comes down the stairs, and an older woman uses the hall phone to tell her sister that their mother has just died. That may be pouring the milieu on a bit thick, Borzage style, but this scene is beautifully played by Eilers and by the older woman and is quite affecting. Later, when Eilers stays in Dunn's room (no hanky-panky, it seems) and he asks her to marry him, her brother kicks her out of the house, and Gombell, the brother's gal, walks too. (Single-mom Gombell's little boy is a terror. In the morning he won't scram: "I want to see Dotty get out of bed.") Sally is sure that Jimmy will desert her at the alter, and that's the beginning of all the tear-jerking plot elements.

But the film goes beyond those elements with a richness of detail, a generous painting of daily life in the city during the Depression. And, when all's said and done, what really makes the film, and where Borzage ultimately redeems himself, is in the performances. Eilers, who somehow never got the recognition she deserved, is beautiful and gives a strong, sensitive, emotional performance--for my money a more appealing one than most of Janet Gaynor's work for Borzage. Gombell, another undervalued thirties player, is really fine as the tough but good-natured pal, who doesn't let Dunn's dislike of her color her opinion of him as a good husband for Eilers. Her performance goes beyond the requirements of the script in very subtle ways. And Dunn, well, he plays the typical early-thirties boob of a husband, but even he has a bravura scene when he breaks down while having to beg the expensive doctor to handle his wife's childbirth. Borzage films are always full of sentiment, but not always honest sentiment. This scene with the doctor is full of sentiment, but it's honestly handled, and one can say the same for the whole film.

A man and woman get married, she gets pregnant, and then the two of them spend the rest of the movie wondering if the other really wants to have a baby. They could just talk to each other about it I suppose, but then there wouldn't be a reason for this film's existence.

"Bad Girl" is a bit of a curio in that it won Oscars for Best Director (Frank Borzage) and Best Writing (Adaptation) at the 1931-32 Academy Awards, but who's even heard of this movie now? It's not very memorable, and it's a testament to the power of the Academy Awards, whether or not you personally give them any credence, that films like this are kept afloat in front of modern-day audiences based on the fact that they won some Oscars back in the day. That's certainly the motive for my seeking it out, whereas any number of other early talkies that are no better or worse than this one fade into obscurity.

James Dunn and Sally Eilers are pretty good, and talkies were still new enough that it's refreshing to find actors who knew how to act with sound as their medium. It's also fun to see movies from this time period because they give us a glimpse into what life was like during the Great Depression.

Many comments have said that the title is completely irrelevant to anything that happens in the movie. That's not entirely true. When Dunn first meets Eilers at Coney Island, they have a conversation where he mentions something about how everyone has both bad and good in them, and the idea that both husband and wife suspect the "bad" in each other drives much of their behavior throughout the rest of the film. But I do agree that the theme isn't explored very fully, and it is a misleading title.

In addition to the two Oscars it won, "Bad Girl" was nominated for Best Picture.

Grade: B

Bad Girl is included in the new Murnau/Borzage and Fox collection,and kudos to them for making it available! Though an excellent little slice of life film from the Depression Era, I definitely wouldn't say that it compares with Borzage's timeless silent romances, though Borzage's recurrent theme of love conquering all is here to.The lead actors,Sally Eilers, and James Dunn, both do fine jobs, especially Dunn, who paints a very realistic portrait of a "regular Joe", decent kind of a guy. His performance rings true, and he later made a comeback, winning the Oscar for Best Supporting Actor in A Tree Grows in Brooklyn.(1945) This is the story of a young couple's struggle to make it through marriage, finances, and becoming parents. The background story of what was considered "making it" in a poor economy is especially pertinent today. Dunn's character, Eddie Collins, thought it was opening his own radio shop, providing his wife with an elaborately furnished apartment, and getting her the best doctor for her delivery. Not so different from what young couples are facing today! The film is sometimes a bit too wordy, but the slang of the time is a hoot! As one of Borzage's smaller films, it's worth a watch.

An interesting little Borzage love story set during the Depression, detailing the struggles of young couple (Sally Eilers & James Dunn) with their hopes and dreams. Curiously Borzage won his second Oscar as Best Director for this oddly heady little movie and that's perhaps the only reason to watch it. It works as a timepiece of its era. But I definitely wouldn't call "Bad Girl" one of Borzage's best romances (in many ways it strikes me as turgid and unaffecting in several moments, and I didn't like the ending), but it is definitely worth catching if you are fan or a student of the director's sublime and unheralded oeuvre.