Mandalay (1934)
There are a few great reasons to see this movie. For one, it's an early Michael Curtiz film (he's the guy who did "Casablanca" and "Mildred Pierce"). Another, it stars the great Kay Francis, who is what we expect from her-charming, intense, subtle, significant. And finally, this is a pre-Code film (barely) with that little edge that makes it fresh. The plot is a bit jarring at first--the leading character played by Francis is Tanya (or Spot White, later) and she is trapped into being a nightclub hostess (and prostitute?). Francis is great at being both the victim and the ultimate in femme fatale (or a woman of power, at least). She's great. The cast around her is strong, too, and the scenes keep changing and evolving, so you have to stay awake to keep up. There is some really fabulous cinematography here, by the great but unheralded Tony Gaudio. One scene uses a mirror in the center of the frame to show one scene while the background shows another, giving us a fast impression of her nightclub. In smaller ways, the camera moves and approaches the key moments with elegance. Other scenes have just a great sense of light and drama (the short part with the turning paddlewheel of the boat at night is great). Everything begins in Rangoon. The scene shifts eventually to Mandalay, which is an inland city in Burma (Myanmar now). It requires a nice boat ride through the jungle, with all sorts of characters along. There are issues of servitude, alcoholism, virtue (as seen by Westerners visiting Asia), and maybe (in a strained way) love. It's a lot of drama and I like it, held in place finally by Francis. And check out the last five seconds. This is truly a pre-code film, and if justice is served in the end, it isn't what the Hays Code would ever have allowed. Sweet
There are a few great reasons to see this movie. For one, it's an early Michael Curtiz film (he's the guy who did "Casablanca" and "Mildred Pierce"). Another, it stars the great Kay Francis, who is what we expect from her-charming, intense, subtle, significant. And finally, this is a pre-Code film (barely) with that little edge that makes it fresh. The plot is a bit jarring at first--the leading character played by Francis is Tanya (or Spot White, later) and she is trapped into being a nightclub hostess (and prostitute?). Francis is great at being both the victim and the ultimate in femme fatale (or a woman of power, at least). She's great. The cast around her is strong, too, and the scenes keep changing and evolving, so you have to stay awake to keep up. There is some really fabulous cinematography here, by the great but unheralded Tony Gaudio. One scene uses a mirror in the center of the frame to show one scene while the background shows another, giving us a fast impression of her nightclub. In smaller ways, the camera moves and approaches the key moments with elegance. Other scenes have just a great sense of light and drama (the short part with the turning paddlewheel of the boat at night is great). Everything begins in Rangoon. The scene shifts eventually to Mandalay, which is an inland city in Burma (Myanmar now). It requires a nice boat ride through the jungle, with all sorts of characters along. There are issues of servitude, alcoholism, virtue (as seen by Westerners visiting Asia), and maybe (in a strained way) love. It's a lot of drama and I like it, held in place finally by Francis. And check out the last five seconds. This is truly a pre-code film, and if justice is served in the end, it isn't what the Hays Code would ever have allowed. Sweet