I Take This Woman

Scandalous Carole Lombard is hustled out west to the family ranch to avoid another scandal in New York. Ranch hand Gary Cooper's contemptuous indifference to her incites her to make him fall in love with her. Trouble is, she falls in love with him, and marries him, which gets her disowned. Such is the sexual heat that she doesn't care, until a hard year of deprivation getting his ranch started sends her back to a life of luxury in New York, asking for a divorce by letter.

I looked for signs of Soviet class struggle in Marion Gehring's first movie for Paramount, from a novel by Mary Roberts Rinehart and with Slavko Vorkapich as "associate director" -- I guess he was doing his usual amazing montage work on this. I didn't find it, but a story of co-dependence, two individuals, neither of whom can do anything worthwhile alone, but together can accomplish something, set in that glossy Paramount world in which of course they fall in love, because they're beautiful. They're also pretty good at not understanding what it is they mean to each other until it's explained to them. Gehring got good performances out of them, just as he later would out Sylvia Sidney.

In many ways, this movie reminds me of Warner Brother's THE PURCHASE PRICE the following year, which I think is a superior movie. Perhaps that is because in this movie, the leads' love turns out to be much more selfish. I suppose that's a case of Your Mileage May Vary. Certainly, Stanywyck is at least as good an actress as Lombard is and Cooper is better than Brent in the other movie.

Kay Dowling (Carole Lombard) is a very spoiled brat. Because her family is rich, she doesn't take life very seriously and occasionally gets herself into trouble...and knows they'll bail her out of whatever predicament she gets herself into from time to time. While her father talks tough and convinces her to go out west to find herself, he and the rest of them are enablers and as a result Kay is a very weak person.

Out west, she inexplicably falls for a poor ranch hand, Tom (Gary Cooper). Very impulsively (how else would Kay do ANYTHING??), she marries him and they are dirt poor, living in a cabin on a desolate ranch. Not surprisingly, she soon tires of it and goes running back to her parents. What's next?

In many ways, this is less a traditional film and more a morality tale. But it fortunately does not come off as heavy-handed and is well acted. Not a great film but a good one worth seeing.

Lots of people may watch this and believe it is about two people from different worlds finding each other and the problems they encounter when the honeymoon is over. I think it is more than that.

The story starts with wealthy beautiful slacker heiress Kay Dowling (Carole Lombard) being seen in a public place with a married man (Oh the horror!). The wife is threatening divorce and naming Kay as co-respondent. Kay says big deal, but dad says she needs to either marry her forever fiancé or go out west to dad's ranch in Wyoming until things simmer down or he will disinherit her. So off she goes to the ranch - you get the feeling that forever fiancé is putting her feet to sleep. While out west she meets cow hand Tom McNair (Gary Cooper). He makes her feel foolish a couple of times - like a city slicker which is what she is, and so she decides to make him feel foolish by getting him to fall in love with her. It works, but she falls in love too. They hastily marry, but Kay finds she is quickly not only a fish out of water, but on another planet.

Her wedding gift from Tom's fellow cowhands is a stuffed deer head. Tom can't stay on as a cow hand and just sleep in the bunkhouse, so he gets a run down one room cabin as a house for the two, and begins ranching. All the money has to go to the cattle, so there are no extras. But worse, there is the horrible isolation of the Wyoming winters. When she arrived, Kay was there during the three months out of the year they have good weather. She wants to pack it in and go back home, but a neighbor lady in whom she confides says industry does not come easy to Tom, and that unless he has somebody besides himself to work for, he will just walk away from his ranch and go back to being a cowpoke.

So it turns out these two have more in common than you would first think - they are both drifting through life in their own way unless something bigger than themselves wills them forward. How does this turn out? Watch and find out.

Lombard and Cooper gave great rather understated performances. They were quite good at expressing a range of emotions without a great deal of dialogue. The one real question mark in the cast is the part of Kay's dad. He never seems to step out from behind his desk, never has a tender word for his daughter though she is his only child, and seems to only care that she is not a headline with no thought to her happiness.

I'd definitely recommend it as one of the better made and acted early talkies.

Because of the two leads, I had to watch this film. Boy was I disappointed. Many awkward silences in this early talkie. Had this been made a decade later with both leads, I imagine it would have been better made since both made better films later in their careers.

Is it the source material, Mary Roberts Rinehart's novel? Is it Vincent Lawrence's adapted screenplay? Is it the direction of Marion Gering, making his film debut? Or is it some combination thereof that makes 'I take this woman' come across with a bare-faced plainspokenness that flattens nearly any sense of drama or humor? The plot progresses with the simple-minded curtness of a twelve-year old's first fan-fiction: "This happened. And then this happened. This happens next." It's one matter to decline embellishments in storytelling and film-making; it's another to be so straightforward that cuts to shots of a calendar are an exciting change of pace. None of this necessarily means the feature is entirely without value, but the movie-going experience is all but reduced to a level of receiving a gift with the price tag still on, discovering a puzzle that's already solved, AND being told every turn in a narrative the moment you buy a book. If you can appreciate the sometimes more modest entertainment of older films, and are the sort of person who can enjoy stories even after they've been spoiled for you - well, this is far from essential, but 'I take this woman' is an okay watch if you happen across it.

The core concepts of the writing are fine, the cast is strong - and give suitable performances, despite the subdued constraints of the title - and Gering's direction is technically capable. I think the plot is rather engaging, at face value, even if it bears very familiar themes of "growing up," and "finding oneself," and so on. I admire the production design, costume design, hair and makeup, and even the editing. Not to somewhat return to an aforementioned notion, but if this picture were a jigsaw puzzle, then all the requisite pieces are here, sure enough. Somehow, however - somewhere in the mix, that puzzle got flipped, so instead of a fetching, vibrant image, what we see before is the brownish-grey cardboard backing.

True, at some uncertain point about halfway through this issue lessens, and 'I take this woman' becomes a little more actively compelling. It's a problem that never feels fully resolved, though, even at the climactic peak of the interpersonal quagmire, and the ending seems uncharacteristically rushed and untidy. And that pervasive directness is adjoined by another glaring matter that rears its head from the very start: this is distinctly sexist. And it didn't have to be. Lead female character Kay Dowling (Carole Lombard) is overly brash and strong-headed, sure, but that irascible willfulness marks her as an independent, liberated woman. Yet these admirable qualities are practically taboo in 1930s cinema, so of course the feature focuses heavily on the notion that she must be "tamed" and "domesticated"; a revealing line of dialogue from male lead Tom McNair (Gary Cooper) even likens Kay to an animal that must be broken. Why, the title alone - "I take this woman" - connotes in one breath traditional vows of marriage, and the notion that a woman is a mere thing to be possessed, and emphatically centers the male perspective.

Sigh.

There are good ideas here. There really are. I had mixed expectations but high hopes as I began watching, especially with Lombard and Cooper involved; their reputations alone say much. Yet the strength that exists in the fundamental elements of the picture very much face off against the way they are all brought together, and it's quite a one-sided bout. You could do a lot worse, no matter what era of film your comparison is - but you could also do a whole lot better. If you can't get enough of the stars or movies of the 30s, then I suppose there's a particular reason to watch this. Otherwise, 'I take this woman' is best considered for when you want to sit for a movie without needing to be wholly invested.