Finally, Warner Brothers got the story right in this still average but definitely better remake of 1931's "Illicit", a pre-code drama that didn't quite hit the scandal button in its story of a single couple obviously having an open sexual relationship then finding that marriage bores them both to tears. That version starred a rising Barbara Stanwyck who added the only touch of class to an otherwise middle of the road youth drama that needed a spark to get it off the proverbial ground. Another rising young actress (somebody named Bette Davis) took on the same part, and fortunately, the writers and casting directors were on her side this time as she got a more exciting leading man (Gene Raymond) and a much snappier screenplay.
The premise and formula are pretty much the same, although some of the details have changed. This time, the leading female character has a career (artist) which adds different dimensions and makes her much more interesting than just a Park Avenue socialite with nothing more to do than attend parties and complain about her boredom with the marital game. Rather than an understanding father of the male lead, the heroine's parents show up, obviously European immigrants who have very old fashioned ideals about the sanctity of marriage. There's a much more humorous version of "Illicit's" Charles Butterworth character, here played by Frank McHugh. When first seen, he is imitating the curves of an unseen drawing which the audience assumes to be the female anatomy. Later, he disrupts a potential liason between the now married Davis and Raymond, and their change of plans (which doesn't include him) brings in more much needed humor.
A shot of Davis and Raymond sleeping in the same bed is quite amazing for this day and age, showing the ridiculousness of the censor's insistence of couples (married or not) having at least one foot on the floor if seated or lying on a bed. This makes for an even racier version of an already told story, and at more than ten minutes less than its predecessor, the heat is definitely on a higher range than what had just been two years before. Davis and Stanwyck are certainly equals in the talent department, and it is a shame that Barbara didn't get the same opportunities that Bette did. While this film is far from a classic, it represents pre-code at its juiciest and is definitely far superior than the original script which it was based upon.
The premise and formula are pretty much the same, although some of the details have changed. This time, the leading female character has a career (artist) which adds different dimensions and makes her much more interesting than just a Park Avenue socialite with nothing more to do than attend parties and complain about her boredom with the marital game. Rather than an understanding father of the male lead, the heroine's parents show up, obviously European immigrants who have very old fashioned ideals about the sanctity of marriage. There's a much more humorous version of "Illicit's" Charles Butterworth character, here played by Frank McHugh. When first seen, he is imitating the curves of an unseen drawing which the audience assumes to be the female anatomy. Later, he disrupts a potential liason between the now married Davis and Raymond, and their change of plans (which doesn't include him) brings in more much needed humor.
A shot of Davis and Raymond sleeping in the same bed is quite amazing for this day and age, showing the ridiculousness of the censor's insistence of couples (married or not) having at least one foot on the floor if seated or lying on a bed. This makes for an even racier version of an already told story, and at more than ten minutes less than its predecessor, the heat is definitely on a higher range than what had just been two years before. Davis and Stanwyck are certainly equals in the talent department, and it is a shame that Barbara didn't get the same opportunities that Bette did. While this film is far from a classic, it represents pre-code at its juiciest and is definitely far superior than the original script which it was based upon.