Whilst doing a marathon viewing of French films from 1932,I decided to read the chapter on the year in Mark A. Vieira's superb book Sin in Soft Focus: Pre-Code Hollywood. With his version of The Hunchback of Notre Dame being one of my all-time favourite films,I was interested by the mentions of William Dieterle output from the year,which led to me putting a soft-focus on one of his titles.
View on the film:
The first of 6 (!) films he made in 1932,director William Dieterle fluidly blends the depth of field vision of cinematographer Gregg Toland, via delicate,ultra-stylised framed deep-focus close-ups on Ames and Sherman placing their heads side by side. Cracking open an atmosphere of Pre-Code Rom-Com glamour, Dieterle layers on dissolves of the couple changing into various eye-catching costume, and in a calculated, subtle motif, Dieterle & Toland use the framing of doors to shadow the friendship between Sherman and Ames,and to key into the final meet cute.
Taking the elements of the Rom-Com and twisting them, the screenplay by Charles Kenyon and Robert Lord wonderfully play against type in the Pre-Code era. Ames is sharply established as a newspaper editor who is good at her job, (which she does not leave for her love) and respected by her fellow workers,whilst Sherman dives in with the traditional woman role of being the one head over heels in love.
Not having a "Code" to face, the crisp dialogue keeps the Rom-Com sparks flying,while also being empathetic towards Ames attempting to save her marriage to a cheating husband, whilst she becomes charmed by Sherman. Joined by a terrific Andy Devine hitting Screwball targets as pal Doyle, David Manners gives a warm turn as Sherman,who Manners keeps steeping in time to still having feelings for his current fiancé,but dancing towards falling for his new boss. Her first film at WB, Kay Francis makes an entrance with a excellent performance as Ames, whose senior role at work is held by Francis with an enticing confidence,which is crossed with a breezy eye for romance,as Sherman becomes the man wanted.
View on the film:
The first of 6 (!) films he made in 1932,director William Dieterle fluidly blends the depth of field vision of cinematographer Gregg Toland, via delicate,ultra-stylised framed deep-focus close-ups on Ames and Sherman placing their heads side by side. Cracking open an atmosphere of Pre-Code Rom-Com glamour, Dieterle layers on dissolves of the couple changing into various eye-catching costume, and in a calculated, subtle motif, Dieterle & Toland use the framing of doors to shadow the friendship between Sherman and Ames,and to key into the final meet cute.
Taking the elements of the Rom-Com and twisting them, the screenplay by Charles Kenyon and Robert Lord wonderfully play against type in the Pre-Code era. Ames is sharply established as a newspaper editor who is good at her job, (which she does not leave for her love) and respected by her fellow workers,whilst Sherman dives in with the traditional woman role of being the one head over heels in love.
Not having a "Code" to face, the crisp dialogue keeps the Rom-Com sparks flying,while also being empathetic towards Ames attempting to save her marriage to a cheating husband, whilst she becomes charmed by Sherman. Joined by a terrific Andy Devine hitting Screwball targets as pal Doyle, David Manners gives a warm turn as Sherman,who Manners keeps steeping in time to still having feelings for his current fiancé,but dancing towards falling for his new boss. Her first film at WB, Kay Francis makes an entrance with a excellent performance as Ames, whose senior role at work is held by Francis with an enticing confidence,which is crossed with a breezy eye for romance,as Sherman becomes the man wanted.