La fille de l'enfer

Although this film directed by the versatile William Wellman is not essentially different from many other fallen women pictures of the early talkie era, it has elements that lift it out of the ordinary. For contemporary viewers it's an opportunity to see Dorothy Mackaill in a starring role. She was a beautiful and self-possessed actress whose career came and went too quickly. At times she looks so much like Marion Davies that you could easily mistake them for twins. Here she plays a prostitute fleeing the law with a young fellow who loves her. He deposits her in a hotel on a steamy Caribbean island inhabited by escaped male criminals. There is the appealing shock of seeing two African-American actors actually speaking and behaving in a dignified and even admirable manner: Nina Mae MacKinney and Clarence Muse as a hotel proprietress and porter, respectively. Muse speaks the King's English better than the blonde leading lady and comports himself in a far more civilized manner than any of the white men. MacKinney is spectacular. She holds her own no matter who she is playing against and even sings a spirited round of "Sleepy Time Down South" as she pours wine for a large table of diners. Another case of wasted talent in the old Hollywood days.

Safe in Hell (1931)

*** (out of 4)

Warner Pre-Code from director William A. Wellman about a prostitute (Dorothy Mackaill) who kills a former lover and then takes off with her current lover (Donald Cook). The sailor/lover takes her to an island where she can live without fear of being arrested since the local sheriff gives shelter to criminals. This sounds good but it isn't because she's the only white woman on an island full of criminals and all of them have ideas for her. What really stands out about this film is all the sexuality that Wellman throws out the screen and this film is certainly one of the dirtier films of the era. As expected, there's a scene with Mackaill undressing for the camera and a see through night gown. We also get a scene where the men spread their legs out as they watch the woman with a high sexual tone. Not to mention another scene where the men look up her dress as she walks up some steps. Mackaill is very, very good in her role as she blends sex and a toughness, which makes these films so memorable. The supporting cast is also very good but the story is pretty standard and lacking. There's not too much drama as the screenplay seems a tad bit lazy but this is still worth watching due to all the sexuality.

In looking at the list of movies Nina Mae McKinney appeared in on this site, it mentioned that her part in this movie-as well as that of fellow African-American player Clarence Muse-had them speaking normal English as opposed to the stereotypical dialect associated with their race in films during this period. They do indeed sound normal-actually Muse seemed British when he spoke-and refreshingly non-stereotypical. One other player of their race has a silent role as a guard-Noble Johnson who would two years later appear in a more-iconic movie called King Kong. The story itself, about a New Orleans prostitute who gets smuggled to an uncharted island after killing the man responsible for her situation, was quite compelling especially when she encounters both Nina and Clarence there as possibly the only people who seemed concerned for her well-being. There are some white counterparts who are like them but many of them have sordid pasts like that of that prostitute. In summary, I'll just say Safe in Hell was quite a compelling pre-Code drama. P.S. The song Ms. McKinney performs here-"When It's Sleepytime Down South"-was co-written by Muse.

A case can be made that director William Wellman did his best work at Warner Bros-First National from 1931-1933. "Safe in Hell" is a prime example. There isn't much plot in this saga of a "bad" woman (Mackaill) redeemed by love, but the atmosphere of sin, desperation , and hope is efficiently evoked. The compositions are continually inventive, and the camera movements are as energizing as Wellman pulled off the same year in "The Public Enemy". He also coaxed fine work from the beautiful Mackaill; it's telling that this tough guy director seemed to work so well with actresses. In his Warner Bros. tenure, Wellman did great films with Barbara Stanwyck, Loretta Young, and Ruth Chatterton, too. Look up his resume, and check out the films.

I've wanted to see Safe in Hell for a long time, thinking it was some kind of archetypal pre-Code experience, and it's tawdry enough but fatally slow. Dorothy Mackaill plays a woman who was left behind by her sailor boyfriend, turned to prostitution, and ends up killing a john she apparently had a bad experience with before the movie started. That's the first ten minutes or so, and it's pretty good. Then the sailor boyfriend, who gets over the prostitution and murder stuff pretty quickly, helps her escape and, making the same mistake with his not very strong-willed girlfriend a second time, plops her alone on a miserable little island with a group of exiled lowlifes who sit in rattan chairs all day ogling her.

This proves, ultimately if not convincingly, irresistible, and once she falls the second time, it's a short walk from there to being executed for a crime she didn't commit, and trying hard to keep the secret of her sorry end from her sailor boyfriend, who really needs to find a nice gal he can leave alone somewhere for five minutes without her killing somebody, regardless of the circumstances.

I think the island stuff was originally a play, in the far-east-sleaze mode of Kongo, Shanghai Gesture, etc., and if so I think there must have been more action in it than made it to the screen, because there's a lot of suggestion that something's going to happen, but not much actually does. Mackaill is all right, she's certainly attractive and doesn't object to a pre-Code wardrobe, but she doesn't make as strong an impression as, say, Barbara Stanwyck, who was evidently Wellman's first choice.

The strongest impression is made by Nina Mae McKinney and Clarence Muse as the hotel proprietors, who exude a warmth and conviviality in their scenes that seems to have come from a different movie (and suggests that the Hell of the island was brought there by its white visitors, not intrinsic to the place). McKinney, the wonderful star of the very early sound Hallelujah!, even gets to sing a song, in the only on-screen appearance of her MGM contract (loaned out to Warners). It makes you a wish for a very different movie about her character, rather than Mackaill's.