Mais la chair est faible

Here's a pre-code romantic comedy that today seems extremely politically incorrect in its depiction of male/female relations. It's derived from a play by famous U.K. matinée idol Ivor Novello, and he contributed both the screenplay and "continuity" to the film. I would think that female audiences today will find certain scenes and undercurrents offensive in their depiction of the male as the dominate force in a relationship. Anyone today viewing But the Flesh Is Weak would wonder as to the mentality of Novello, and his views on the female gender. I would think that his "hit-her-over-the-head-and-drag-her-away" clichés should had become outmoded even in the 1930's.

Anyway, Novello did rise to the occasion of providing an interesting entertainment, penning some nice dialog and creating some amusing characters. Film centers on young Robert Montgomery and his dad, C. Aubrey Smith, who are two sophisticated men-about-town in London. They are both seeking some rich noblewoman to provide their next supper, and they make the rounds by blending in with upper class society. After charming one difficult and eccentric lady play by Heather Thatcher, Montgomery's character quickly falls in "love at first sight" with a widowed socialite he meets the same evening at Thatcher's house party. Complications ensue, not aided by a catastrophic gambling debt run up by so-called "Senior," C. Aubrey Smith.

I have very high regard for Robert Montgomery, in his ability to be so affable, charming and easygoing. He's one of the great screen actors, and I never miss an opportunity to see one of his films. Just because he's so easygoing and charming usually is what makes him so effective when he become volatile, or even angry. He has a nice showcase here, even if the script seems now very sexist, almost worthy of disregard in that aspect of the plotting, since Novello's writing has Montgomery really and actually forcing himself on the leading lady. He not only refuses to take "no" as an answer, he even slaps her and kicks her out of a moving vehicle! Mongomery's work here shouldn't be dismissed though, and both him and great character actor C. Aubrey Smith make the movie enjoyable. There's a scene early on with them in a small bathroom that's a two-shot containing both actors. Smith goes through some elaborate business in clipping his mustache, but it's all for naught, since right next to him is Robert Montgomery stripping out of his clothes to take a bath. Poor C. Aubrey would have to have been well aware that all eyes would be on Montgomery.

One weak element in the movie is leading lady Nora Gregor, a heavily-accented European import who appears to be out of her depth here. She isn't very pretty or charming enough to cause Montgomery to fall instantly head-over-heels in love with her, and she accomplishes very little to make her character memorable.

Much better is the support from Heather Thatcher, as a monocle-wearing socialite with some eccentric habits, a good heart and designs on Robert Montgomery. She's offbeat and very likable, with her scenes being such highlights in the movie, that it's disappointing the offhand way the film dismisses her character. Nice comic relief comes supplied by wonderful Edward Everett Horton as a rival suitor of Nora Gregor and there's also silent film star Nils Asther who's perfect as a decadent and lascivious European prince.

Pre-code fans will surely get a kick out of But the "Flesh Is Weak." *** out of *****

C. Aubrey Smith and Robert Montgomery star in But The Flesh Is Weak which is a screen adaption of one of Ivor Novello's plays The Truth Game which was one of his minor works. Major enough however to get a respectable run of 107 performances in 1931 during the middle of the Depression. Probably because the author himself starred on Broadway during the run.

Ivor Novello was as Noel Coward, a one man creative force. Wrote, composed, acted in many of his own works. It might have really been worthwhile to see him in this, but Hollywood being what it is demanded a movie box office name. So Robert Montgomery as he did with Noel Coward's Private Lives filled the bill for MGM again.

No music in this one, Smith and Montgomery are not a pair of the most heroic of people, they're a father and son pair of con artists who prey on wealthy women of different generations. As it inevitably does, true love enters the picture, but some overwhelming financial considerations may have to take precedence.

C. Aubrey Smith cast against type, usually he's one of the most righteous of individuals on screen gets the acting honors here. At all costs he has to keep up appearances. The highlight is him making one too many passes at the gaming tables. If you remember in the Frank Capra film A Hole In The Head, Frank Sinatra gets caught in the same trap trying to impress Keenan Wynn at the dog track. It worked out in different fashion for both men.

It takes a considerable amount of charm to make these characters likable and Montgomery had that even in his worst films. I doubt we'll see a remake in these times of But The Flesh Is Weak. It's an interesting between the World Wars period piece though.

This film has several story elements that simply wouldn't fly today....plus the two male leads are unlikable pond scum. These would make this film a hard sell for most of today's audiences. First the story elements that are now taboo. Robert Montgomery plays a man who falls for a woman instantly and because he KNOWS he must marry her, he pursues her in a manner that clearly would have him arrested for sexual harassment, stalking and possibly rape if he continued in such a fashion! This was all meant to be cute but comes off as creepy today--and it's interesting to see what people thought was okay back in 1932. To make things worse, late in the film, Montgomery slaps his woman caveman style! I am sure N.O.W. would have a few things to say about this. Second, Montgomery and his father (an oddly miscast C. Aubrey Smith) are both leeches who live off rich society women--sort of like man-hos. This is hardly endearing, though once again the writers didn't seem to get this! Talk about creating a hole from which your characters have to extricate themselves!!! Well, somehow, the film is pleasant enough that if you can ignore the huge problems with the characters, it is still a decent time-passer. The writing AT TIMES is decent (particularly the non-stalker dialog) and the film has a few clever moments...though Edward Everett Horton is a bit wasted in the film. It's a glossy MGM production...with multiple problems.

Father son gigolo team Flavian (C. Aubrey Smith) and Max Clement (Robert Montgomery) wile their days away coming up with schemes to be wined, dined and supported by upper crust wealthy victims. Max however is swept off his feet by widower Rosine Brown (Nora Gregor) who he begins to relentlessly pursue in competition with other paramours. Finally getting her to capitulate he is suddenly forced to back out and marry someone else in order to save his dear old dad from jail.

There's a charming bounder like quality to both father and son in the presence of the suave Montgomery and the distinguished rascality of C. Aubrey Smith. There is an ease of rapport and affection between the two that makes Max's sacrifice a little less far fetched than it is and C. Aubrey's curmudgeonly Flavian with a twinkle or two left in his eye is impossible to dislike. Both also look like they were born to wear tuxedos and live from soirée to soirée. But there is an undertone of male chauvinism in The Flesh is Weak typified by the adolescent outbursts of Max chiding Rosine that leaves a bad taste. Rosine is treated like a child for being more of an adult than her accuser with the script enabling Max's petulant child and Nora Gregor's lack of confident English devaluing Rosine.

Heather Thatcher as a monocle wearing bohemian of title and money is the film's most interesting character remaining observantly aloof and on the periphery throughout giving bratty dead beat Max all the room he needs to have his self righteous tirades. For the sake of the film he should have been sent to his room.

A 1930s movie with Robert Montgomery and C. Aubrey Smith - how cool is that? Not very, as it turns out. Smith and Montgomery are father and son scoundrels who live off wealthy women. At first they are somewhat charming and their close relationship is nice to see. Although the Smith character (nicknamed "Senior" by his son) does maintain a modicum of this charm to the movie's end, the Montgomery character, Max, does not. That he soon into the movie shows his arrogance and obvious disdain for women is not particularly surprising but his downright meanness and callousness is. He sexually harasses and stalks Rosine Brown (and the script makes it clear that she loves it!). At the end of the film she says something like "I didn't know you loved me until you hit me." Maybe I misheard this line as by then I had lost interest in this movie but I don't think I did. The only interesting and positive character in the film was that played by Heather Thatcher, Lady Joan Culver. She, of course, is used and completely humiliated by Max. What makes this a truly horrid movie is that those watching it in the 1930s evidently thought it was an amusing romantic comedy.