By 1931, Barbara Stanwyck was moving quickly to the forefront of Hollywood stardom, and critics (as well as the public) were taking notice. An association with Frank Capra at Columbia and a non-exclusive contract with Warner Brothers made the movie audiences of the pre-code depression era aware of her massive talents, particularly as a serious dramatic actress who could handle comedy as well. Her movies were often hit and miss, going between mediocre melodramas like "Ten Cents a Dance" and such classics as "The Miracle Woman", as well as fascinatingly fun exposes on sin with "Night Nurse" and later on "Ladies They Talk About" and "Baby Face". If anybody could sin on screen with a gleam in their eye, it was Barbara Stanwyck.
"Illicit" certainly doesn't lack on sinful glamour with its lavish Park Avenue settings, a pre-code forbidden plot involving single lovers (Stanwyck and James Rennie) obviously involved in a sexual relationship, droll comedy by Charles Butterworth (as a fun-loving lush who constantly "borrows" Rennie's stash of liquor), and perky Joan Blondell. Unfortunately, playing opposite the talented Stanwyck, James Rennie seems to be a total bore in the male lead, while there are definite sparks between Stanwyck and Ricardo Cortez, playing her old flame who just won't give her up and would be more willing than to adhere to her desire for a serious relationship without the benefit (or in her opinion, curse) of marriage. The imperious looking Natalie Moorehead is the other woman who comes between Stanwyck and Rennie, discovering boredom after their freedom comes to an end thanks to his pressure on her to tie the knot. While their characters are interesting, they are too one-note to add much more to the plot where you pretty much already know what is going to happen.
Unfortunately, as excellent as Stanwyck is, her character really doesn't have any motivation for avoiding marriage other than memories of her own parent's ill-fated union. Claude Gillingwater offers brief wisdom as Rennie's understanding father who would like nothing more than to see Stanwyck become his daughter-in-law, but after his one scene, totally disappears from the film, taking away the only sensible character in the film. Two years later with more character development and ten less minutes, the same story was better served as "Ex-Lady" where the rising Bette Davis got a better leading man as well as a career for her character than Stanwyck, who obviously enjoyed being a party girl even when her marriage was on the rocks. Stanwyck does get a great exit though, but by that time, it's almost too little, too late.
"Illicit" certainly doesn't lack on sinful glamour with its lavish Park Avenue settings, a pre-code forbidden plot involving single lovers (Stanwyck and James Rennie) obviously involved in a sexual relationship, droll comedy by Charles Butterworth (as a fun-loving lush who constantly "borrows" Rennie's stash of liquor), and perky Joan Blondell. Unfortunately, playing opposite the talented Stanwyck, James Rennie seems to be a total bore in the male lead, while there are definite sparks between Stanwyck and Ricardo Cortez, playing her old flame who just won't give her up and would be more willing than to adhere to her desire for a serious relationship without the benefit (or in her opinion, curse) of marriage. The imperious looking Natalie Moorehead is the other woman who comes between Stanwyck and Rennie, discovering boredom after their freedom comes to an end thanks to his pressure on her to tie the knot. While their characters are interesting, they are too one-note to add much more to the plot where you pretty much already know what is going to happen.
Unfortunately, as excellent as Stanwyck is, her character really doesn't have any motivation for avoiding marriage other than memories of her own parent's ill-fated union. Claude Gillingwater offers brief wisdom as Rennie's understanding father who would like nothing more than to see Stanwyck become his daughter-in-law, but after his one scene, totally disappears from the film, taking away the only sensible character in the film. Two years later with more character development and ten less minutes, the same story was better served as "Ex-Lady" where the rising Bette Davis got a better leading man as well as a career for her character than Stanwyck, who obviously enjoyed being a party girl even when her marriage was on the rocks. Stanwyck does get a great exit though, but by that time, it's almost too little, too late.