Fille de feu

This is a tale of tragedy with a very old fashioned message - that the sad life of the protagonist Nasa Springer (Clara Bow) is part God's vengeance for the sins of the fathers, and part the result of her heritage, because Nasa is half Indian and thus has a savage nature. Cue eye rolls.

The film opens on a 19th century wagon train with the head of the wagon train, Silas Jennings, openly cheating on his wife and also getting violent with anybody who calls him on it. One man says that the Indian attack that the wagon train suffers and the resulting dead are God's judgment and talks about the sins of the father passing on to Silas' further generations. Next the film is in Texas, eighteen years later, and Silas' daughter Ruth has married her childhood sweetheart Pete. But Pete has no time for romance since he wants to get rich quite badly. Sad and neglected Ruth strikes up a friendship with a well educated and handsome Indian, Ronasa, and the two have an implied affair. The fruit of that affair is Nasa. (Didn't Pete think it strange that his wife basically named her after Ronasa? But I digress.)

So about 18 years later we meet grown Nasa (Clara Bow), fiery in both hair color and disposition. She gets into physical altercations, gets sent to a finishing school by her disapproving "dad" and manages to finish off a few of her classmates in fights in the process, rejects dad's choice for her marriage and weds a wastrel, and things just go downhill from there. At times she has money, at other times she doesn't, but she just can't stop being a wildcat.

The end is bittersweet, and the implication is that Bow will end up with "Moonglow" (Gilbert Roland) because the two are racially alike, NOT because all through the years, and the ups and downs, and through Nasa's bad treatment of him at times, this guy is the sweetest nicest person you could ever meet, has always been there for her, and is not bad on the eyeballs either.

Bow's acting is wonderful in this. Fox, at a time when it seemingly could do very little right (1930-1935), managed to make a true classic here, and a true precode, and they managed to do what Paramount never really could do - give Bow a really meaty talking picture role. Bow's outfits take great advantage of her figure, with bold shots of her cleavage and everything else she has above the waist There is plenty of infidelity and the resulting VD that occurs in one case, an attempted rape, prostitution, and a tragic fire. . And all of this from a studio that, at the time, was known for its homespun entertainment for rural folk. Gilbert Roland has a pretty small role, but he is absolutely charming. Thelma Todd is true to her nickname of "Hot Toddy" and almost unrecognizable with that short haircut, vying with Bow for the same men and matching Bow's character insult for insult and hair pull for hair pull when the two get into some very public altercations.

I'd strongly recommend this. It is great precode entertainment even with some of the maudlin melodrama and the muddled message.

CALL HER SAVAGE concerns the tumultuous adventures of a tempestuous, rebellious girl named Nasa Springer (Clara Bow). It is definitely not a film for everyone, as it contains some perverse elements such as a whipping scene. Indeed, CALL HER SAVAGE sometimes approaches high camp, such as in the film's prologue.

Despite the film's rambling storyline, however, it is never dull. This is chiefly due to Clara Bow's remarkable performance. CALL HER SAVAGE is proof that the silent star could easily handle talking films, using a low, throaty voice that matches the sensuality of her looks. Bow runs a gamut of emotions from anger to tenderness to elation to self-pity, and always with passionate conviction. Her performance conveys a well-rounded character who elicits the audience's sympathy and always remains credible, even if the scenario sometimes isn't. CALL HER SAVAGE is a must for Clara Bow fans.

*** out of ****

Lurid-but-fascinating tale of wild half-breed Texas heiress has everything in it, including whippings, prostitution, extra-marital affairs, a neglected baby, and singing homosexuals. Pre-Code stunner boasts Clara Bow's great talkie comeback (after a bunch of so-so talkies) and she is WONDERFUL as well as Gorgeous. Playing Nasa Springer, Bow gets to whip a snake and Gilbert Roland, have a cat fight with Thelma Todd, beat Monroe Owsley senseless, smash a guitar over a servant's head, and run wild from Texas to Chicago to New York City. Clara Bow is great in this film. Too bad Bow made only one more film after this one (the underrated Hoopla).

Estelle Taylor, Weldon Hayburn, Russell Simpson, Fred Kohler, Dorothy Peterson, Margaret Livingston, Anthony Jowitt, and Mischa Auer co-star.

Great line as the father drives up and says "Why are you whipping that man?" Clara Bow answers, "I'm practicing in case I ever get married." Priceless!

Beautiful, in a modern way (contrast with co-star Thelma Todd), facile with her lines, natural with her mannerisms, this lady can act! And she has a fine voice, so the "couldn't make the transition to talkies" bit doesn't apply here.

And the off-screen items that supposedly led to her decline are pretty lame explanations. I mean, suing someone who embezzled her was supposed to be scandalous? Even back then? What was she supposed to do, sue by proxy? I smell a John Gilbert-style studio sabotage of a "difficult star" here.

Back to the film. Call Her Savage is a Bow vehicle throughout, showcasing her broad range. Though an interesting nature-vs-nurture yarn, with frank pre-Code allusions to sexual kink and promiscuity which give us a peek into the mentality of the age, the stagy mannerisms that are the baggage of the silent era make for a somewhat dated melodrama. And the direction is pretty awful, too. But Bow manages to isolate herself from these drawbacks; in fact, throughout the film, she distinguishes herself from her surroundings. Isn't this star power?

Ordinarily, this film would score a6 or 7, but I give it a 9 because it's a rare opportunity to watch an actress whose star never should have faded.

What a film! Daring to tackle issues few films would even look at today. Stunningly photographed and directed, and with greater style than many early talkies. And at its heart is one of the best film performances ever - Clara Bow proves herself to be a magnificent actress in a role that demands she go through every possible emotion. What a loss it was to cinema when she retired, as great a loss as Garbo. Please MOMA get that restored print out on DVD, so that this great classic can be seen in all its glory!