Fille de feu

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 ****

Clara Bow gives one of the greatest performances of any actress of the early 1930s. She's a million miles away from the iconic flapper of the 20s which made her famous. In this masterpiece, she brings to life a role you'd expect to find someone like Barbara Stanwyck playing - astonishingly, Clara Bow is easily as good.

If Clara Bow conjures up the image of a good time girl, a saucy sexpot, Betty Boop or the epitome of The Jazz Age, then like me you will be blown away by this. Just how good an actress she is, is a complete revelation of Road to Damascus proportions. Sadly dealing with her own troubled life was more important to her than acting so despite some very lucrative offers from the big studios, she retired from acting shortly after making this. It was a sad loss to the industry because on the basis of this, you can imagine that if she'd carried on, she'd be remembered as someone like Bette Davis, Greta Garbo etc

As Hitchcock said, you can't make a good film unless you've got a good story and this is certainly a good story. It's heavily imbued with moral righteousness but it's thoroughly engrossing. In reality it's probably unlikely that so much bad fortune could befall one person but the brilliant way this is made makes this most melodramatic of all melodramas utterly believable.

Director John Francis Dillon is virtually unknown not just now but even back then. Unfortunately for cinema, he died young so never became famous which, from the evidence here, he was destined to be. This obviously big budget production isn't just magnificently directed, it's beautifully and imaginatively photographed as well. The guy behind the camera was one of the superstar cinematographers of the 30s, Lee Garmes so you know you're going to see something excellent if it's associated with him.

Perhaps what makes this story so relatable to a modern audience is that Clara Bow's character Nasa, seems so normal to us now. OK, she's got an uncontrollable temper but she's very much like any normal girl you'd find anywhere today. Her sense of independence, her crazy notion that a woman is not simply a possession of a man and that a woman can make her own decisions seemed outrageous in 1932: that was not just a different time but a whole different world.

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!

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.

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!