Clarence Brown's Pre-Code 1931 drama POSSESSED is an engaging film enhanced considerably by the star presence of a young and beautiful Joan Crawford.
Crawford shines as poor factory worker Marian Martin, a girl from the "wrong side of the tracks". After another grubby day on the assembly line and an unwanted proposal from a poor suitor (Wallace Ford) Marian glimpses another side of life on a train passing through town. She makes her way to the city and quickly finds that as a woman she must make more than a few sacrifices if she is to enjoy the "good life". Meeting handsome lawyer Mark Whitney (Clark Gable)makes all her financial dreams come true, yet Marian still longs for the one thing Whitney will not give her-a marriage proposal.
Brown creates an effective melodrama that interestingly examines some of the social mores and topical concerns of the 1930's. The position of women in society is the key theme addressed by the competent director, with Crawford's portrayal being both realistic and touching. Crawford makes great use of the close-up to express inner thoughts and feelings, suggesting a whole range of emotions when she overhears Gable speak of his reluctance towards marriage. Crawford is the film's best asset and she does some great work here, providing the most memorable scenes in the picture.
The film's other triumph is the slick narrative economy employed by Brown. POSSESSED clocks in at around 73 minutes and is a very efficiently-produced film. MGM's trademark opulent production design suits the penthouse scenes well, with Crawford looking terrific in jewels and well-cut dresses. Cinematographer Oliver T. Marsh provides some inspired visual style in an early scene that sees Marian standing in awe at the luxury and splendor passing by her on the train. The juxtaposition of Marian's two lifestyles in this short sequence is a nice effect.
The film is let down by Gable's distinct blandness and an average script. Gable conspicuously lacks presence alongside Crawford in their scenes and his dialogue delivery is very wooden here. I have noticed that in Gable's early films he really did have trouble trying to emote on camera. Luckily for Gable, Crawford manages to cover for him in their romantic scenes, putting in a top-drawer 'cover all bases' performance.
Worth seeing for Crawford, the themes and it's production design.
7/10.
Crawford shines as poor factory worker Marian Martin, a girl from the "wrong side of the tracks". After another grubby day on the assembly line and an unwanted proposal from a poor suitor (Wallace Ford) Marian glimpses another side of life on a train passing through town. She makes her way to the city and quickly finds that as a woman she must make more than a few sacrifices if she is to enjoy the "good life". Meeting handsome lawyer Mark Whitney (Clark Gable)makes all her financial dreams come true, yet Marian still longs for the one thing Whitney will not give her-a marriage proposal.
Brown creates an effective melodrama that interestingly examines some of the social mores and topical concerns of the 1930's. The position of women in society is the key theme addressed by the competent director, with Crawford's portrayal being both realistic and touching. Crawford makes great use of the close-up to express inner thoughts and feelings, suggesting a whole range of emotions when she overhears Gable speak of his reluctance towards marriage. Crawford is the film's best asset and she does some great work here, providing the most memorable scenes in the picture.
The film's other triumph is the slick narrative economy employed by Brown. POSSESSED clocks in at around 73 minutes and is a very efficiently-produced film. MGM's trademark opulent production design suits the penthouse scenes well, with Crawford looking terrific in jewels and well-cut dresses. Cinematographer Oliver T. Marsh provides some inspired visual style in an early scene that sees Marian standing in awe at the luxury and splendor passing by her on the train. The juxtaposition of Marian's two lifestyles in this short sequence is a nice effect.
The film is let down by Gable's distinct blandness and an average script. Gable conspicuously lacks presence alongside Crawford in their scenes and his dialogue delivery is very wooden here. I have noticed that in Gable's early films he really did have trouble trying to emote on camera. Luckily for Gable, Crawford manages to cover for him in their romantic scenes, putting in a top-drawer 'cover all bases' performance.
Worth seeing for Crawford, the themes and it's production design.
7/10.