Pre-Code: Man Wanted(1932).

Man Wanted (1932). Romance. Here is another wonderful pre-Code comedy. The casting, acting are all very entertaining. The humor is very sophisticated. Kay Francis, is perfect playing the role of a worldly woman with a open marriage. The way she deals with her husband's many adulteries makes her character very human.

David Manners, gives a wonderful performance as her new office employee. He left Hollywood for a private life in 1936, never to return to movies.

Giving support in this film are: Una Merkel as Manners, fiancee and Andy Devine as his, good natured roommate.

Elizabeth Patterson, makes the most of her small role as Miss Francis' eccentric, secretary and Edward Van Sloan (DRACULA's Van Helsing) has only a few scenes as a store manager.

Kay Francis (January 13, 1905 – August 26, 1968). After a brief period on the Broadway stage, Walter Huston, was so impressed by Francis that he asked her to take a screen test for the Paramount Pictures film, Gentlemen of the Press (1929). Francis made this film and the Marx Brothers film, The Cocoanuts (1929).

Francis, went on to sign a Paramount contract and moved to Hollywood. She frequently costarred with William Powell, and performed in as many as six to eight movies a year, making a total of 21 films between 1929 and 1931.

Because of her beauty and deep voice, she was perfectly suited to early sound movies which made Francis one of the top film stars of the early 1930s. Her success came in spite of a minor, but distinct speech impediment (she pronounced the letters "r" and "l" as "w") that gave rise to the nickname "Wavishing Kay Fwancis."

Francis' career at Paramount changed when she performed in the films: Girls About Town (1931) and the film, Twenty-Four Hours (1931). After Kay’s career skyrocketed at Warners, she would return to Paramount for the film, Trouble in Paradise (1932).

In 1932, Francis was given roles that allowed her a more sympathetic screen persona, in her first three featured roles she had played a villainess. Like in the film, The False Madonna (1932), she played a jaded society woman taking care of a terminally ill child who learns to appreciate the simpler things in life.

From 1932 through 1936, Francis was the queen of the Warners and her films were developed as star vehicles. By the mid-thirties, Francis was one of the highest-paid actors.

She frequently played long-suffering heroines like in films, I Found Stella Parrish, Secrets of an Actress, and Comet over Broadway, wearing beautiful wardrobes that, sometimes, were more memorable than the characters she played. Francis' clotheshorse reputation led Warners to concentrate more on lavish sets and costumes, designed to appeal to Depression-era female audiences.

After her release from Warners, Francis was unable to secure another studio contract. Carole Lombard, one of the most popular stars of the late 30s and early 1940s (and who had previously been a supporting player in Francis' 1931 film, Ladies' Man) tried to help Francis' career by insisting Francis be cast in the film, In Name Only (1939). In this film, Francis had a supporting role to Lombard and Cary Grant, she recognized that the film offered her a wonderful opportunity.

After this, she moved to character and supporting parts, playing catty professional women in the film, The Feminine Touch. Francis, did have a lead role in the Bogart gangster film, King of the Underworld(1939).

She signed a three-film contract with Poverty Row studio Monogram Pictures that gave her production credit as well as star billing in the films: Divorce, Wife Wanted, and Allotment Wives which had limited releases in 1945 and 1946. While more lavish than some Monogram productions, they were pale copies of her earlier work.

Declining health, along with an accident in 1948 in which she was badly burned by a radiator, hastened her retirement from show business.

They Call It A Sin(1932).

They Call It A Sin(1932). Cast: Loretta Young, George Brent and Una Merkel.

Traveling salesman Jimmy Decker falls in love with Marion Cullen, even though he is engaged to Enid Hollister, his boss's daughter. Marion is a talented composer, after a confrontation with her foster mother, who tells her that she is really the illegitimate daughter of a showgirl, she leaves for New York.

After, she soon realizes that he is not going to break off his engagement with Enid, she and dancer Dixie Dare interview with talent agent, Ford Humphries, who offers Marion a job as a rehearsal pianist. When Marion plays one of her own songs for Humphries, he suggests that she write a song for his show.

One evening at the club, Marion meets, Dr. Tony and they begin to see each other and when Jimmy finds out, he becomes upset. He goes looking for her at one of Humphries' parties and tell Marion, that he still loves her. Humphries, sees them kissing uses her songs without credit to get even with her and Jimmy goes to see Humphries, in her defence. Drunk, Humphries falls off his balcony and later dies. To save Jimmy, Marion takes the blame. Will she ever reveal the truth?

This a wonderful fluffy romance movie, that becomes a little racy at the end.

Helen Vinson (September 17, 1907 – October 7, 1999). Performed in 40 films between 1932 and 1945.

Vinson's screen career often featured her in roles in which she played the other woman or (pre-Code) women with active romantic lives. Her first film role was, Jewel Robbery (1932). She performed in the film, The Kennel Murder Case, The Wedding Night (1935). She played the wife of Gary Cooper, in a story about the tobacco fields. Another performance was in the film, In Name Only (1939), in which she was cast as the treacherous friend of Carole Lombard, Kay Francis and Cary Grant. Another stand-out role for Vinson was as an undercover federal agent posing as a femme fatale opposite Richard Cromwell in the film, Enemy Agent(1940),The Thin Man Goes Home.

Pre-Code: Red Headed Woman (1932).

Red Headed Woman (1932). Film of the Pre-Code era, based on a novel by Katherine Brush. Directed by Jack Conway. Cast: Jean Harlow, Chester Morris, Lewis Stone, Leila Hyams, Una Merkel, Henry Stephenson, May Robson, Charles Boyer and Harvey Clark.

The story begins when Lilian Andrews, will do anything to seduce her wealthy boss, William Legendre Jr. and break up his marriage. His wife Irene, soon after the divorce finds that she does not want to live without him and tries to get back with Bill, only to find he has married Lil.

Lil, is not happy because she is shunned by Bill's father, Will Legendre Sr., because of her low class behavior. When Charles B. Gaerste, a coal tycoon visits the family, Lil thinks she has found a way into the higher social circles. She seduces him, into throwing a party for her. Things are looking good for Lil, until her hairdresser Sally, informs her that all the guests have left early to attend a party for Irene.

She decides to move to New York City, without her husband. Will finds Lil's handkerchief at Gaerste's place and shows his evidence to his son, who hires a detective, who finds out that she having two affairs. One with Charles and the other with his French chauffeur, Albert. Bill shows Charles the photographs. When Lil learns that Charles has found out about her, she returns to Bill, only to find that he has gone back to Irene. She shoots him, but he survives, will he have her arrested?

Fun Fact:

Jean Harlow's first line is "Who says gentlemen prefer blonde's?" which was written by Anita Loos for the movie who's most famous work was the musical comedy, Gentlemen Prefer Blonde's (1953).

No matter what type of role Jean Harlow played, it seems like she loved acting. Una Merkel, gives a wonderful performance as her roommate and look for Charles Boyer, in his small role. This film is very good example of a pre-code film.

Leila Hyams (1 May 1905 – 4 December 1977) . Her short film career began in silent films, and ended in the mid 1930s.

Her parents were vaudeville comedy performers John Hyams and Leila McIntyre, Hyams performed on-stage with her parents as a child. As a teenager she worked as a model and become well known after appearing in a successful series of newspaper advertisements. This success led her to Hollywood.

She made her first film in 1924, and with her blond hair, she was cast in many supporting roles. She proved herself in her small roles and over time she came to be taken seriously as an actress.

Her first first talkie was the film, Alias Jimmy Valentine (1928) opposite William Haines, Lionel Barrymore and Karl Dane. The following year she performed in the murder mystery, The Thirteenth Chair, a role that allowed her to showcase her dramatic abilities. The quality of her parts continued to improve, like her performance in the film, The Big House (1930) and in the film, Surrender (1931).

She is maybe best remembered for two early 1930s horror movies, Freaks (1932) and in the film, Island of Lost Souls (1933).

She also performed in the once controversial Jean Harlow film, Red-Headed Woman (1932), the musical comedy, The Big Broadcast (1932) and the film, Ruggles of Red Gap (1935) .

Una Merkel - Her Finest Moment

Dawn recently did a piece on Una Merkel, a solid character actress who got her start as a stand-in for Lillian Gish in 1920's Way Down East.  She is famous for her wisecracking blond character in 42nd Street, and is remembered best for such roles.  I wanted to pay homage to one of her performances as a mentally ill mother in 1961's Summer and Smoke, one of the most memorable characters in movies.  She had created the role on Broadway, and brought it to the screen, where her relatively small role shines alongside a stellar cast including Geraldine Page and Laurence Harvey.

Summer and Smoke was a play by Tennessee Williams originally titled Eccentricities of a Nightingale.  It tells the story of a southern spinster named Alma (Page), a shy, nervous daughter of a minister.  Alma is emotionally fragile, unable to handle the realities of life and her feelings.  She is easily embarrassed and fluttery with nerves, physically frail, a sad woman who longs for love but cannot express it or act on it.  She is a character well known to Tennessee Williams fans from his  body of work.  Una Merkel plays a character also often seen in Williams' plays.  She is Alma's mother, Mrs. Winemiller, who could be an older version of Alma, old enough to have become mentally unstable and not to be trusted for normal behavior in public.  One of Alma's unspoken fears is that will end up like her mother, the barely tolerated wife of a harried and intolerant husband and the bane of her child's difficult life.  Mrs. Winemiller mainly lives upstairs, an embarrassment and annoyance to her family. When her behavior becomes erratic enough, she is often ordered upstairs by her husband. She has fits of mania when she talks crazily, screams "Where's the ice cream man? I want the ice cream man!"  When she manages to get out of the house, Mrs. Winemiller is known all over the small town as a sneaky kleptomaniac, mainly pilfering hats from stores.  Alma is often the person who has the agonizing job of apologizing to storekeepers, imploring her mother not to humiliate her with that behavior.

Mrs. Winemiller is crazy, alright, but not too crazy to see through Alma, and mean enough to enjoy baiting her daughter with sudden flashes of sane insight into Alma's nerves and humiliation.  She makes fun of Alma for Alma's deeply felt and hidden love of her hell-raising neighbor (Laurence Harvey).  Mrs. Winemiller sings "Alma's in love, Alma's in love" in front of other people, well aware that her daughter is deeply embarrassed by this revelation.  It is very difficult to play crazy without eliciting laughter, but Una does it with an attitude of dignity and pathos in her cruel insanity in this difficult role.  She is a complex character, and Una uses all of her considerable acting talent to bring a marvelous performance to the movie.

Her performance was noticed, and Una was nominated for an Academy Award for Best Supporting Actress for her work.  Una Merkel rounded out her career with this fine piece of serious acting, light years from her early years as a dithering, wisecracking blond.  Well done, Una.  You have left a piece of genius in movie history.

Una Merkel

Una Merkel, looked alot like actress Lillian Gish, which started her acting career as a stand-in for Gish in 1920's Way Down East and in 1928's The Wind. She performed in a few films during the silent era, Love's Old Sweet Song (1923). Una, spent most of her time in New York City working on Broadway. Merkel returned to Hollywood and achieved her greatest success with "talkies".

She played Ann Rutledge in the film Abraham Lincoln (1930) directed by D. W. Griffith. During the 1930s, Merkel became a popular second lead in a number of films, usually supporting actresses such as Jean Harlow, Carole Lombard, Loretta Young, and Dorothy Lamour.

Merkel was an MGM contract player from 1932 to 1938, performing in twelve films in a year. She was also often cast as leading lady to a number of comedians in their starring pictures, including Jack Benny, Harold Lloyd, and Charles Butterworth.

She is best known for her performance in, Western Destry Rides Again (1939) in which her character, Lillibelle, gets into a famous "cat-fight" with Frenchie (Marlene Dietrich).


She played the elder daughter to the W. C. Fields character, Egbert Sousé in the 1940film The Bank Dick.

In the classic musical 42nd Street (1933), Merkel played a streetwise showgirl who was Ginger Rogers's best friend. In the famous "Shuffle Off To Buffalo" number, Merkel and Rogers both sing the immortal lyric, "Matrimony is baloney".

She performed in both the 1934 and the 1952 film versions of The Merry Widow, playing different roles in each.

During the 1940s she performed in much smaller rolls. In 1950 she was leading ladyin, Kill the Umpire. She made a comeback as a middle-aged woman playing mothers and maiden aunts, and in 1956 won a Tony Award for her role on Broadway in The Ponder Heart. She had a major part in the MGM 1959 film, The Mating Game as Paul Douglas's wife and Debbie Reynolds's mother, and was nominated for an Academy Award for Best Supporting Actress in Summer and Smoke (1961).

Private Lives (1931)

Private Lives (1931). Comedy. Director: Sidney Franklin. The screenplay by Hanns Kraly and Richard Schayer is based on the 1930 play of the same title by Noel Coward. Cast: Norma Shearer, Robert Montgomery, Reginald Denny and Una Merkel.


Elyot Chase and Amanda Prynne, divorced are upset to learn they both are on a honeymoon with their new spouses at the same hotel on the French Riviera.Elyot becomes annoyed with Sybil's questions about Amanda, while Amanda wishes her new husband Victor would stop talking about Elyot. When Elyot run into Amanda on the terrace, he insists he and Sybil immediately depart for Paris, the same plan Amanda proposes to Victor.

Elyot and Amanda rekindle their relationship with a kiss and make a promise to each other to put an end to any future arguments. The two flee to St. Moritz, but before long they begin a argument that turns into a major fight about a record, which Amanda breaks over Elyot's head. Rushing out, Amanda meets Victor and Sybil, who have tracked them down. The two couples meet for breakfast the next day, but when Victor and Sybil begin to fight, What do Elyot and Amanda do?


I thought the performance that really made this film work was Norma Shearer. One of the few silent stars to make a full transition to sound. PRIVATE LIVES, maybe my favorite, Norma Shearer film.