... because at first blush this forgotten Warner Brothers film looks an awful lot like 1941's Citizen Kane, except without the polish. The film was based on David Karsner's book about a determined businessman, loosely based on the life of Samuel Insull. However, it also bears some resemblance to the life of William Randolph Hearst, and specifically how that life was interpreted in Citizen Kane.
Edward G. Robinson stars as John Hayden. The film opens in 1892 with him as a young man buying up all the art he can find in Europe, when he is called home at his father's death to take over the family packing business in which he really has no interest. He falls in love with and marries the daughter of a rival packer (Genevieve Tobin) and finds her exciting and thinks she is a reformer, but she soon transforms into just another social climber and their romance cools. When that happens he falls in love with an ambitious opera singer (Kay Francis), and offers to build her an opera house??? Now tell me that Orson Welles the teenager was not in the front row of the theater, chowing down on popcorn, and thinking how he might spruce up this tale when he got his big chance?
The similarities between the tales end there, and it turns out Kay Francis' character is no Susan Alexander Kane, and also the ignored wife turns out to be more persistent and vindictive than Kane's wife. The film is ultimately a variation on a common Warner Brothers' Depression era theme - a cautionary tale against greed for greed's sake.
Kay Francis may be second billed, but ultimately Edward G. Robinson is the whole show. Since Robinson was two inches shorter than Francis, it looks like the director came up with all kinds of inventive ways for them to embrace and it not look like she was picking him up off the ground to kiss him. Finally, why would anybody think "Home on the Range" would be a good tune to be "our song" for any couple? It's all part of the wonderful weirdness that was early 30s Warner Brothers. Recommended for the novelty of it all.
Edward G. Robinson stars as John Hayden. The film opens in 1892 with him as a young man buying up all the art he can find in Europe, when he is called home at his father's death to take over the family packing business in which he really has no interest. He falls in love with and marries the daughter of a rival packer (Genevieve Tobin) and finds her exciting and thinks she is a reformer, but she soon transforms into just another social climber and their romance cools. When that happens he falls in love with an ambitious opera singer (Kay Francis), and offers to build her an opera house??? Now tell me that Orson Welles the teenager was not in the front row of the theater, chowing down on popcorn, and thinking how he might spruce up this tale when he got his big chance?
The similarities between the tales end there, and it turns out Kay Francis' character is no Susan Alexander Kane, and also the ignored wife turns out to be more persistent and vindictive than Kane's wife. The film is ultimately a variation on a common Warner Brothers' Depression era theme - a cautionary tale against greed for greed's sake.
Kay Francis may be second billed, but ultimately Edward G. Robinson is the whole show. Since Robinson was two inches shorter than Francis, it looks like the director came up with all kinds of inventive ways for them to embrace and it not look like she was picking him up off the ground to kiss him. Finally, why would anybody think "Home on the Range" would be a good tune to be "our song" for any couple? It's all part of the wonderful weirdness that was early 30s Warner Brothers. Recommended for the novelty of it all.