Not by any means a good film (which even director McCarey admits -- see his interview with Peter Bogdanovich in "Who the Devil Made It"), but nonetheless an interesting one. As McCarey points out, the beginning of sound was a difficult period in the film industry, and this one suffered from the "no more musicals!" diktat which followed -- of course -- several musical flops. So the script -- originally a musical by the great team of DeSylva, Brown and Henderson -- was divested of most of its songs and rewritten in ten days. "How was that?," asks Bogdanovich. "Lousy," says McCarey. Well, yes, it's strangely unfocused, veering nervously between comedy and melodrama, and making the viewer nervous withal. Yet it is fascinating to watch Miss Swanson, who, in one of her first sound pictures, combines the gestural grace of the best silent acting with an already secure command of the more naturalistic technique of sound film acting (and has a better than decent singing voice, besides). As with many 1930-31 releases, this one is plagued by a very uneven soundtrack -- one marvels that these problems were so fully overcome within a year or two. Supporting players include Maude Eburne, charmingly blowzy in a Marie Dressler role, and the actor whose most famous performance is that of Katherine Hepburn's father in "Holiday" -- here playing more pleasantly a similar (though slightly less obnoxious) role. Arthur Lake, best known as Dagwood Bumstead, is not easy to watch, but Ben Lyon makes quite a reasonably handsome and charming leading man. Obviously a very uneven film, but worth seeing for its minor virtues.
26 Reviews
A Woman's Impulse
lugonian7 April 2019
INDISCREET (United Artists, 1931), directed by Leo McCarey, is not an early movie edition to the 1958 Cary Grant-Ingrid Bergman comedy bearing the same name, but a comedy based on the play "Obey That Impulse" by songwriters, Lew Brown, B.G. DeSylva and Ray Henderson, who also produced. Starring Gloria Swanson, a popular leading actress of the silent screen who has found some luck in early talkies as THE TRESPASSER (1929), who not only has a couple of suitors for INDISCREET, but gets to sing a couple of songs as well.
The story begins on New Year's Eve where Geraldine Trent (Gloria Swanson), a New York dress designer, decides to break off her engagement with Jim Woodward (Monroe Owsley), whom she feels isn't worthy of having him for her husband. Through Timothy Collins, better known as Buster (Arthur Lake), Jerry is introduced to his friend, Tony Blake (Ben Lyon), a novelist, who practices what he preaches through his latest book, "Obey That Impulse" by immediately falling in love with Gerry, wanting to marry her first, then getting to know her later. Finding him a bit crazy in his actions, Jerry finds Tony to be worthy of becoming her husband. In the meantime, Gerry's kid sister, Joan (Barbara Kent), convent educated in Paris, whom she hasn't seen in two years, is returning home by boat. Seriously in love with a man she met abroad, Jerry is surprised the man she's engaged to is Jim rather than Buster, who loves her. Gerry attempts on breaking up their relationship, but Joan refuses to listen to her warnings that she's engaged to a cad. At a social function in Westbury hosted by Jim's conservative parents (Henry Kolker and Nella Walker), where their engagement is to be announced, at first Jerry, who attends, pretends to have a touch of family insanity. When that doesn't work, she pretends her love for Jim, which hurts her more than helps when they are caught together by Joan and Tony. Maude Eburne also co-stars as Gerry's Aunt Kate.
Reportedly produced as a musical, only two songs survive in the existing print, including Gloria Swanson singing to the camera to "If You Haven't Got the Love," followed later by two renditions of "Come to Me." The problem with the song interludes is that Swanson is no singer. Her vocalizing style weakens the film. One notable scene, however, occurs during her shower/bath scene that reveals Swanson in silhouette behind glass shower door. What makes INDISCREET interesting viewing today is watching Gloria Swanson years before her triumph comeback performance in SUNSET BOULEVARD (Paramount, 1950), and Arthur Lake before winning immortality as Dagwood Bumstead in the "Blondie" movie series for Columbia Pictures (1938-1950).
Theatrically released at 92 minutes, circulating prints are 73 minutes. Being a reissue print minus twenty minutes of material makes one wonder what was deleted, and if INDISCREET will ever be seen again in its original theatrical format. Sudden cuts and blackouts that have been circulating on public television and video cassette since the early 1980s, along with DVD presentations, make INDISCREET both uneven and disjointed. A public domain title, which had some television showings in the now defunct cable channels as Tempo or Channel America back in the late 1980s. While a possible restoration may or may not make much of a difference, at least its original length might make better sense in its scenario, indicating how INDISCREET was originally presented to theater audiences way back in 1931. (**)
The story begins on New Year's Eve where Geraldine Trent (Gloria Swanson), a New York dress designer, decides to break off her engagement with Jim Woodward (Monroe Owsley), whom she feels isn't worthy of having him for her husband. Through Timothy Collins, better known as Buster (Arthur Lake), Jerry is introduced to his friend, Tony Blake (Ben Lyon), a novelist, who practices what he preaches through his latest book, "Obey That Impulse" by immediately falling in love with Gerry, wanting to marry her first, then getting to know her later. Finding him a bit crazy in his actions, Jerry finds Tony to be worthy of becoming her husband. In the meantime, Gerry's kid sister, Joan (Barbara Kent), convent educated in Paris, whom she hasn't seen in two years, is returning home by boat. Seriously in love with a man she met abroad, Jerry is surprised the man she's engaged to is Jim rather than Buster, who loves her. Gerry attempts on breaking up their relationship, but Joan refuses to listen to her warnings that she's engaged to a cad. At a social function in Westbury hosted by Jim's conservative parents (Henry Kolker and Nella Walker), where their engagement is to be announced, at first Jerry, who attends, pretends to have a touch of family insanity. When that doesn't work, she pretends her love for Jim, which hurts her more than helps when they are caught together by Joan and Tony. Maude Eburne also co-stars as Gerry's Aunt Kate.
Reportedly produced as a musical, only two songs survive in the existing print, including Gloria Swanson singing to the camera to "If You Haven't Got the Love," followed later by two renditions of "Come to Me." The problem with the song interludes is that Swanson is no singer. Her vocalizing style weakens the film. One notable scene, however, occurs during her shower/bath scene that reveals Swanson in silhouette behind glass shower door. What makes INDISCREET interesting viewing today is watching Gloria Swanson years before her triumph comeback performance in SUNSET BOULEVARD (Paramount, 1950), and Arthur Lake before winning immortality as Dagwood Bumstead in the "Blondie" movie series for Columbia Pictures (1938-1950).
Theatrically released at 92 minutes, circulating prints are 73 minutes. Being a reissue print minus twenty minutes of material makes one wonder what was deleted, and if INDISCREET will ever be seen again in its original theatrical format. Sudden cuts and blackouts that have been circulating on public television and video cassette since the early 1980s, along with DVD presentations, make INDISCREET both uneven and disjointed. A public domain title, which had some television showings in the now defunct cable channels as Tempo or Channel America back in the late 1980s. While a possible restoration may or may not make much of a difference, at least its original length might make better sense in its scenario, indicating how INDISCREET was originally presented to theater audiences way back in 1931. (**)
the songs got in the way
kidboots19 May 2008
I also hadn't seen any of Gloria Swanson's movies apart from "Sunset Boulevard" (but I do mean to now!!!). This was a surprise - a romantic, sophisticated comedy-drama - with songs!!! It was the last film written by De Silva, Brown and Henderson before their partnership dissolved. They wrote some of the most popular songs of the day.
Gloria plays Geri Trent who, as the film opens, is just showing oily Jim Woodward and his golf clubs the door. Monroe Owsley seemed to make a career of playing cads. After a while she meets carefree writer Tony (Ben Lyon) who follows the rule - "obey your impulses". Falling in love with him she confesses that she had an affair with Jim but promises she will never see him again. Meanwhile her sister, Joan, (Barbara Kent) comes home after 2 years in Paris, giving her waiting boyfriend Buster (Arthur Lake) the cold shoulder. She is secretly engaged to Geri's old love.
Gloria sang very well but too much. I agree with the other reviewer, one of the problems was being at the tail end of the early musical cycle, where people were staying away from any film with a song in it. Let alone 3 pretty forgettable songs!!! The songs slowed the film down. It also didn't seem to know what it wanted to be. I have read Edith Wharton's "The Mother's Recompense" and it is a highly dramatic book. This film had drama but it also had some funny sequences - one involving Geri trying to convince Jim's family that insanity runs in her family (to stop him marrying her sister). There is also a scene at the end of the film where Geri is trying to board a boat without a passport.
Arthur Lake seemed to have perfected his "Dagwood" characterization even in this film - he plays Buster. Barbara Kent, who once shared the screen with Greta Garbo in "Flesh and the Devil" plays Joan, Geri's sister.
Gloria plays Geri Trent who, as the film opens, is just showing oily Jim Woodward and his golf clubs the door. Monroe Owsley seemed to make a career of playing cads. After a while she meets carefree writer Tony (Ben Lyon) who follows the rule - "obey your impulses". Falling in love with him she confesses that she had an affair with Jim but promises she will never see him again. Meanwhile her sister, Joan, (Barbara Kent) comes home after 2 years in Paris, giving her waiting boyfriend Buster (Arthur Lake) the cold shoulder. She is secretly engaged to Geri's old love.
Gloria sang very well but too much. I agree with the other reviewer, one of the problems was being at the tail end of the early musical cycle, where people were staying away from any film with a song in it. Let alone 3 pretty forgettable songs!!! The songs slowed the film down. It also didn't seem to know what it wanted to be. I have read Edith Wharton's "The Mother's Recompense" and it is a highly dramatic book. This film had drama but it also had some funny sequences - one involving Geri trying to convince Jim's family that insanity runs in her family (to stop him marrying her sister). There is also a scene at the end of the film where Geri is trying to board a boat without a passport.
Arthur Lake seemed to have perfected his "Dagwood" characterization even in this film - he plays Buster. Barbara Kent, who once shared the screen with Greta Garbo in "Flesh and the Devil" plays Joan, Geri's sister.
Zany Gloria Swanson
drednm8 May 2005
Indiscreet was directed by legendary Leo McCarey and starred superstar Gloria Swanson as a woman who hides her past only to find her ex-boyfriend has taken up with her sister. Dumb plot but played for laughs. Swanson was a marvelous light actress and she looks great here. She sings well and, in only her 3rd talkie, has mastered the new medium. Swanson had a great voice and you hear it here--all the inflections and phrasing-- 20 years before her masterpiece, Sunset Boulevard. What a talent. Too bad after The Trespasser in 1929 her films did not do well at the box office. Ben Lyon is the handsome leading man. Monroe Owsley is the creepy boyfriend. Maude Eburne is funny at the aunt. Arthur Lake, Barbara Kent, Nella Walker and Henry Kolker co-star.
Swanson is really terrific, the story is strong and decent, though a bit ordinary
secondtake27 July 2012
Indiscreet (1931)
"I guess I'm just a modern girl with an old fashion conscience." This is Gloria Swanson's character facing what must have been a nearly universal problem of a young woman in the 1920s and 30s. (The parallel these days would be the problem many women face of choosing between career and family.) The problem is severe here, because it has to do with love. And women were expected to save their virtue (at least physically) for the one they would marry. And if they did not "wait" (as no doubt many or most did not, one way or another), should the "tell" the one they are to be with for good.
This is a lot to handle--it's real, it matters, and it treads on themes not easily touched in movies without being too frank. Luckily this is pre-Code Hollywood and there was room for diving in, a little.
The best parts of this movie are simply incredible. The writing and acting in the long scene about twenty minutes in is as tender and honest and nuanced as it gets. The man playing against Swanson in this section is good, an excellent support who doesn't overplay his hand, but it's Swanson who makes it a sincerely felt and penetrating.
The filming throughout is fairly simple. Sometimes there is a sense of camera movement to help inhabit the space, but more often it's about tight framing and composition, which is just a step from the frozen camera on a tripod. This pushes more importance on the actors, their movements and expressions.
Swanson is most famous as a silent actress. This is partly because she really was a legendary silent star (her most famous movies might be "Sadie Thompson" in 1928 or the earlier "Don't Change Your Husband", but she also did a quasi-pre-cursor to this, "The Scarlet Letter" in 1926). But Swanson is also the great silent icon in Billy Wilder's 1950 "Sunset Blvd," and this oddly is her greatest fame (and for good reason, she's amazing, as is the movie). But here, in 1931, we have an early talkie with Swanson doing just fine in normal voice, even singing some.
The director here, it might be fun to note, also directed such enduring gems as the two versions of the same story, "Love Affair" and "Affair to Remember," as well as a pair of snappy Dunne/Grant movies. This one shows the early talent for comedy and serious drama rolled into a single movie with surprising force.
To be clear, there are lots of this movie that don't rise up. It's all entertaining and generally well executed (you have to overlook a couple of hammy secondary characters). But it doesn't gel or show even the originality of the movies of its own time, let alone over time. If you like this era and these themes, or Gloria Swanson, do check it out. Avoid the easily downloaded version (legally) on the internet--the sound is atrocious and fragmented.
"I guess I'm just a modern girl with an old fashion conscience." This is Gloria Swanson's character facing what must have been a nearly universal problem of a young woman in the 1920s and 30s. (The parallel these days would be the problem many women face of choosing between career and family.) The problem is severe here, because it has to do with love. And women were expected to save their virtue (at least physically) for the one they would marry. And if they did not "wait" (as no doubt many or most did not, one way or another), should the "tell" the one they are to be with for good.
This is a lot to handle--it's real, it matters, and it treads on themes not easily touched in movies without being too frank. Luckily this is pre-Code Hollywood and there was room for diving in, a little.
The best parts of this movie are simply incredible. The writing and acting in the long scene about twenty minutes in is as tender and honest and nuanced as it gets. The man playing against Swanson in this section is good, an excellent support who doesn't overplay his hand, but it's Swanson who makes it a sincerely felt and penetrating.
The filming throughout is fairly simple. Sometimes there is a sense of camera movement to help inhabit the space, but more often it's about tight framing and composition, which is just a step from the frozen camera on a tripod. This pushes more importance on the actors, their movements and expressions.
Swanson is most famous as a silent actress. This is partly because she really was a legendary silent star (her most famous movies might be "Sadie Thompson" in 1928 or the earlier "Don't Change Your Husband", but she also did a quasi-pre-cursor to this, "The Scarlet Letter" in 1926). But Swanson is also the great silent icon in Billy Wilder's 1950 "Sunset Blvd," and this oddly is her greatest fame (and for good reason, she's amazing, as is the movie). But here, in 1931, we have an early talkie with Swanson doing just fine in normal voice, even singing some.
The director here, it might be fun to note, also directed such enduring gems as the two versions of the same story, "Love Affair" and "Affair to Remember," as well as a pair of snappy Dunne/Grant movies. This one shows the early talent for comedy and serious drama rolled into a single movie with surprising force.
To be clear, there are lots of this movie that don't rise up. It's all entertaining and generally well executed (you have to overlook a couple of hammy secondary characters). But it doesn't gel or show even the originality of the movies of its own time, let alone over time. If you like this era and these themes, or Gloria Swanson, do check it out. Avoid the easily downloaded version (legally) on the internet--the sound is atrocious and fragmented.
Gloria Swanson's Fascinating Eyes
marxsarx3 August 2003
Warning: Spoilers
******************Mild Spoilers Ahead***********************************
Gloria Swanson spurns her suitor in Indiscreet when she realizes he is a cad and hopes to be done with the relationship. Unfortunately, he turns up again and her younger sister is in love with him. This creates quite a predicament for Gloria Swanson's character and she chooses to humiliate herself to save her sister and ends up risking her upcoming marriage to the man she loves.
Old movies are fascinating to me. This one seem very dated the first time I saw it and rather sappy in some spots. However, on second viewing, I was more acquainted with the style of this film from 1931 and I got more out of it. Gloria Swanson has fascinating eyes, and although I definitely would not say she's beautiful, she is interesting to watch. This film has grown on me and that's the mark of a film which has some substance to it. If you are a fan of 1930's movies, this is worth watching to check out Gloria Swanson in action. There's an hilarious performance by Maude Eburn as the aunt which livens things up. I give this movie a 75/100.
Gloria Swanson spurns her suitor in Indiscreet when she realizes he is a cad and hopes to be done with the relationship. Unfortunately, he turns up again and her younger sister is in love with him. This creates quite a predicament for Gloria Swanson's character and she chooses to humiliate herself to save her sister and ends up risking her upcoming marriage to the man she loves.
Old movies are fascinating to me. This one seem very dated the first time I saw it and rather sappy in some spots. However, on second viewing, I was more acquainted with the style of this film from 1931 and I got more out of it. Gloria Swanson has fascinating eyes, and although I definitely would not say she's beautiful, she is interesting to watch. This film has grown on me and that's the mark of a film which has some substance to it. If you are a fan of 1930's movies, this is worth watching to check out Gloria Swanson in action. There's an hilarious performance by Maude Eburn as the aunt which livens things up. I give this movie a 75/100.
Swanson Shows Up and Shows Out
view_and_review22 August 2022
"Indiscreet" stars one of my favorite actresses of that era, Gloria Swanson. She plays Gerry Trent, a lively, spirited woman who likes to sing (she was bad at it). The movie begins with her breaking it off with Jim Woodward (Monroe Owsley), a pencil mustached playboy who was dating her and several other women.
Sometime later Gerry met a man that she'd fall in love with almost instantly; an author named Tony Blake (Ben Lyon). The two were a hit, but Gerry had a secret. Her secret was that she'd been in a relationship before with Jim (Owsley).
This is when knowing the mores of the era is important. She was in an intimate relationship with a man whom she was not married to. That, in and of itself, could've deemed her not marriage-worthy--a scarlet letter so-to-speak. Of course, today that means zilch, but it meant a lot back then.
Tony took the news a little sorely, but he quickly thought better of it and realized that he loved Gerry and as long as that relationship was over and in the past there was no reason to let it stop the two from marrying.
Things would've gone swimmingly for the two of them had Jim not come back to New York. Not only did he come back to New York, he came back with Gerry's sister, Joan (Barbara Kent), in tow. He'd proposed to Joan on their boat ride from Europe. Gerry knew what a Jim Woodward proposal meant and she would do anything to show Joan that Jim was no good.
Gloria stole the show in this one even though the editing and quality was poor (It may have been digitally recorded from a bad copy). This was a lively romcom that was humorous. Gloria was the show and she showed out.
Free with Amazon Prime.
Sometime later Gerry met a man that she'd fall in love with almost instantly; an author named Tony Blake (Ben Lyon). The two were a hit, but Gerry had a secret. Her secret was that she'd been in a relationship before with Jim (Owsley).
This is when knowing the mores of the era is important. She was in an intimate relationship with a man whom she was not married to. That, in and of itself, could've deemed her not marriage-worthy--a scarlet letter so-to-speak. Of course, today that means zilch, but it meant a lot back then.
Tony took the news a little sorely, but he quickly thought better of it and realized that he loved Gerry and as long as that relationship was over and in the past there was no reason to let it stop the two from marrying.
Things would've gone swimmingly for the two of them had Jim not come back to New York. Not only did he come back to New York, he came back with Gerry's sister, Joan (Barbara Kent), in tow. He'd proposed to Joan on their boat ride from Europe. Gerry knew what a Jim Woodward proposal meant and she would do anything to show Joan that Jim was no good.
Gloria stole the show in this one even though the editing and quality was poor (It may have been digitally recorded from a bad copy). This was a lively romcom that was humorous. Gloria was the show and she showed out.
Free with Amazon Prime.
Sparkling Swanson comedy.
David-24021 September 1999
Indiscreet is a delightful surprise. One of only six films Swanson made in the 1930's this is a refreshingly sexy and sophisticated comedy about relationships. Swanson positively glows as a wealthy young woman betrayed by the sleazy Monroe Owsley and loved by the effervescent Ben Lyon. Maude Eburne gives strong comic support, and Arthur Lake is hilarious as a simple country boy. But it is Swanson all the way - she looks fabulous and acts even better. The scene where she feigns madness is as good an audition for "Hamlet" as I've ever seen. And she even sings - and very well!
This is a great fore-taste of the wonderful sophisticated but slightly anarchic comedies Leo McCarey would later make like "The Awful Truth" and "Ruggles Of Red Gap" - and with Swanson exuding sex and wit this film is a real winner.
This is a great fore-taste of the wonderful sophisticated but slightly anarchic comedies Leo McCarey would later make like "The Awful Truth" and "Ruggles Of Red Gap" - and with Swanson exuding sex and wit this film is a real winner.
Nice showcase of some stars from the silent to sound eras
SimonJack17 March 2015
"Indiscreet" is a good film to introduce movie buffs to several early cinema stars, most of whose careers would end by the mid-20th century. Gloria Swanson's name (more on her later) should be known to most; but some other very good performers are in this movie. Ben Lyon, who plays Tony Blake here, was a leading man from the silent era who successfully transitioned to sound films, appearing in 40 more into the 1940s. Lyon married Bebe Daniels in 1930, and the two stars turned to theater in London, and then were very successful on TV. Monroe Owsley plays Jim Woodward here. He played supporting roles in many more films until he died at age 36 in 1937 after a car accident.
Barbara Kent, Joan's sister in this film, lived to be 103 and died in 2011; but her Hollywood career was over by the end of the 30s decade. Maude Eburne plays Aunt Kate, and had many supporting roles through the 1940s. Henry Kolker and Nella Walker, as Mr. and Mrs. Woodward, were two supporting actors from the earliest film years whose careers lasted until 1947 and 1954, respectively. Arthur Lake, who plays Buster Collins, went on to star as Dagwood Bumstead in 26 "Blondie" movies from the 1930s to 1950; along with some roles in other films. He capped his career in a 1957 TV series of Blondie, starring as Dagwood in all 26 episodes.
So, how about Gloria Swanson? She had been THE leading lady of Hollywood throughout the last decade of the silent era. And, with an excellent voice, she transitioned well into sound pictures. There's no doubt that she was an excellent actress, and that she could do comedy as well as drama. And, with this 1931 film, Hollywood discovered that she could sing. She was only 30 years old when sound films began, and she kept her beauty well into her middle years. But the movie historians and experts are at a loss to explain or understand why here career so soon descended. After "Indiscreet," she would make only four movies over almost two decades. Her film isolation broke when she got the female lead in the 1950 blockbuster, "Sunset Boulevard." Then, over the next two decades, she would again make only a few films, most of which are of no note.
Various possibilities are given for Swanson's sudden demise, for one with such talent. Taken alone they don't seem too believable. But, taken together they seem plausible as a set of circumstances that ended a great acting career far too early. Some cite changes in public interests and attitudes. Swanson wanted independence as a performer and declined a $1 million Paramount contract. She wanted to be an artist and be free to choose her films, to experiment, etc. She got into producing and spent great time, funds and efforts for the rights to a couple of films, and then to making "Sadie Thompson" in 1928. Maybe she didn't have a good head for business. Her next few films were terrible bombs at the box office. Some film associates tried to coax her into doing some sure bets, but she wouldn't go that route. She was going through marriages and had difficulty with relationships. In her 1980 autobiography, "Swanson on Swanson," she told of her many lovers (she had an affair with Joseph Kennedy), marriages and encounters with Hollywood studio heads.
Given the female lead in "Sunset Boulevard," Swanson had a great chance for comeback. Her performance was excellent. But, that was a year of tremendous competition, especially among the female leads. She was up against Ann Baxter and Bette Davis for "All About Eve" and Judy Holliday for "Born Yesterday." The 1950 academy award when to Holiday for her dazzling performance. For the next two decades, Swanson had only occasional film roles and TV appearances. She died at age 84 in 1983 in New York.
Probably no other actress had such public adulation and fame, only to lose it so quickly by the choices she made – personal, career and business. While in France to make the 1925 film, "Madame Sans-Gêne," Swanson married her third husband, a French aristocrat. After four months she returned to the U.S. to huge parades given in her honor in New York and Los Angeles. She was just 26 years old. What other movie star has ever had such recognition only to all but disappear from public view for the remainder of her life?
"Indiscreet" is a good film to see the talent of Swanson, and others. She was a natural at comedy as well as dramatic roles. And, she surely had a singing voice. The film has a decent plot, but it shows some of the shakiness of the first couple of years of movement from silent to sound films. A couple of scenes have long pauses with dialog, when Swanson stares at another actor. That's reminiscent of silent films. Some other small idiosyncrasies are there with the actors, especially Swanson's Geri Trent and Owsley's Jim Woodward. On the other hand, Ben Lyon was nicely fluid and natural as Tony Blake, and Maude Eburne was excellent as Aunt Kate. The scene at the lawn dinner table with the Woodward's is hilarious as Geri feigns insanity. Buster had "warned" them of this very small tendency in the Trent family. The quality of the DVD I have isn't very good, but the film is entertaining and interesting enough that one can enjoy the story with this host of very early performers.
Barbara Kent, Joan's sister in this film, lived to be 103 and died in 2011; but her Hollywood career was over by the end of the 30s decade. Maude Eburne plays Aunt Kate, and had many supporting roles through the 1940s. Henry Kolker and Nella Walker, as Mr. and Mrs. Woodward, were two supporting actors from the earliest film years whose careers lasted until 1947 and 1954, respectively. Arthur Lake, who plays Buster Collins, went on to star as Dagwood Bumstead in 26 "Blondie" movies from the 1930s to 1950; along with some roles in other films. He capped his career in a 1957 TV series of Blondie, starring as Dagwood in all 26 episodes.
So, how about Gloria Swanson? She had been THE leading lady of Hollywood throughout the last decade of the silent era. And, with an excellent voice, she transitioned well into sound pictures. There's no doubt that she was an excellent actress, and that she could do comedy as well as drama. And, with this 1931 film, Hollywood discovered that she could sing. She was only 30 years old when sound films began, and she kept her beauty well into her middle years. But the movie historians and experts are at a loss to explain or understand why here career so soon descended. After "Indiscreet," she would make only four movies over almost two decades. Her film isolation broke when she got the female lead in the 1950 blockbuster, "Sunset Boulevard." Then, over the next two decades, she would again make only a few films, most of which are of no note.
Various possibilities are given for Swanson's sudden demise, for one with such talent. Taken alone they don't seem too believable. But, taken together they seem plausible as a set of circumstances that ended a great acting career far too early. Some cite changes in public interests and attitudes. Swanson wanted independence as a performer and declined a $1 million Paramount contract. She wanted to be an artist and be free to choose her films, to experiment, etc. She got into producing and spent great time, funds and efforts for the rights to a couple of films, and then to making "Sadie Thompson" in 1928. Maybe she didn't have a good head for business. Her next few films were terrible bombs at the box office. Some film associates tried to coax her into doing some sure bets, but she wouldn't go that route. She was going through marriages and had difficulty with relationships. In her 1980 autobiography, "Swanson on Swanson," she told of her many lovers (she had an affair with Joseph Kennedy), marriages and encounters with Hollywood studio heads.
Given the female lead in "Sunset Boulevard," Swanson had a great chance for comeback. Her performance was excellent. But, that was a year of tremendous competition, especially among the female leads. She was up against Ann Baxter and Bette Davis for "All About Eve" and Judy Holliday for "Born Yesterday." The 1950 academy award when to Holiday for her dazzling performance. For the next two decades, Swanson had only occasional film roles and TV appearances. She died at age 84 in 1983 in New York.
Probably no other actress had such public adulation and fame, only to lose it so quickly by the choices she made – personal, career and business. While in France to make the 1925 film, "Madame Sans-Gêne," Swanson married her third husband, a French aristocrat. After four months she returned to the U.S. to huge parades given in her honor in New York and Los Angeles. She was just 26 years old. What other movie star has ever had such recognition only to all but disappear from public view for the remainder of her life?
"Indiscreet" is a good film to see the talent of Swanson, and others. She was a natural at comedy as well as dramatic roles. And, she surely had a singing voice. The film has a decent plot, but it shows some of the shakiness of the first couple of years of movement from silent to sound films. A couple of scenes have long pauses with dialog, when Swanson stares at another actor. That's reminiscent of silent films. Some other small idiosyncrasies are there with the actors, especially Swanson's Geri Trent and Owsley's Jim Woodward. On the other hand, Ben Lyon was nicely fluid and natural as Tony Blake, and Maude Eburne was excellent as Aunt Kate. The scene at the lawn dinner table with the Woodward's is hilarious as Geri feigns insanity. Buster had "warned" them of this very small tendency in the Trent family. The quality of the DVD I have isn't very good, but the film is entertaining and interesting enough that one can enjoy the story with this host of very early performers.
There's a lot to love and a lot to hate...
planktonrules10 June 2010
Warning: Spoilers
This move currently has a rating of 7.9 but you need to interpret this with LOTS of caution. I'm not sure if there is an organized group doing this or not, but the scores of all of her films as well as those of William Haines and Marion Davies are HUGELY inflated. These three silent stars, for some odd reason, have enormously high ratings on all their films--even the really bad ones. And, objectively speaking, every actor has a movie here or there that is bad--but you'd never know it with these three actors. So, 7.9 or not, this is a bad movie--though not completely.
The plot and some of the acting (particularly Swanson's in a few places) are very, very old fashioned--even for 1931. However, the film begins with Gloria playing a very modern type of woman--one who IS willing to have premarital sex. The problem, however, is that the guy she's sleeping with and is planning on marrying is really a cad. Once she realizes that he has no intention to marry her, she changes her ways and becomes the model of propriety.
Time passes. By now, Gloria has met a swell guy and he wants to marry her. However, she is conflicted--she has already slept with another man and doesn't know if the nice new guy will still want her if she tells him the truth about her past. I am pretty sure Gloria is the only woman who has ever been in such a situation! Seriously, though, unless she has some sort of nasty STD, I don't know why she MUST tell the guy about her past affair, but according to the film she has this strong compulsion. This portion of the film, frankly, seems overdone as did the next--a lot of melodrama where little was actually needed. And, despite the Swanson-philes, she made this worse with her very old fashioned acting style (I think she thought this was a silent film--with her over-acting) and some crazy idea she could sing. Despite having a voice that might be able to raise the dead (they'll get up and run away--it's that bad), she sings three times in the movie!! This is especially odd since the film is NOT a musical! Next, we learn that Gloria's sister is now dating the same man that Gloria had slept with years earlier. Now common sense would say that could all be VERY quickly resolved if Gloria simply explained all this to her. But, because it's a shabbily written film, this is never done. Instead, she resolves to try to win back the old boyfriend and have her sister see that he's a horny bum. And, since Gloria is the super-vamp and is irresistible, he ultimately cheats on the pretty young sister and tries to seduce Gloria (frankly, I can't see this as Gloria looks pretty...well...less attractive). The sister sees this and it does the trick. But, the plan is not 100% effective, as the new boyfriend also happens to see what happened and assumed Gloria is cheating on him. None of this particularly good and it's really tough to believe.
The last 10 minutes of the movie are like an entirely different film. Instead of the serious melodrama (or 'over-melodrama') and singing, the last 10 minutes are sweet and funny. Too bad the entire film isn't like this as Swanson FINALLY was in her element--especially since she was originally a silent film comedienne. Gloria and her angry fiancée manage to pull off some wonderfully written, acted and directed scenes that are so good you really wish the whole film was like this. Just see this portion to understand what I mean.
Overall, this is far from Swanson's finest moment in film. While it's passable entertainment, the first 75% is slow, difficult to believe, dumb since the problem could have been easily resolved without the elaborate plan and the overacting and terrible singing make it a miserable experience.
The plot and some of the acting (particularly Swanson's in a few places) are very, very old fashioned--even for 1931. However, the film begins with Gloria playing a very modern type of woman--one who IS willing to have premarital sex. The problem, however, is that the guy she's sleeping with and is planning on marrying is really a cad. Once she realizes that he has no intention to marry her, she changes her ways and becomes the model of propriety.
Time passes. By now, Gloria has met a swell guy and he wants to marry her. However, she is conflicted--she has already slept with another man and doesn't know if the nice new guy will still want her if she tells him the truth about her past. I am pretty sure Gloria is the only woman who has ever been in such a situation! Seriously, though, unless she has some sort of nasty STD, I don't know why she MUST tell the guy about her past affair, but according to the film she has this strong compulsion. This portion of the film, frankly, seems overdone as did the next--a lot of melodrama where little was actually needed. And, despite the Swanson-philes, she made this worse with her very old fashioned acting style (I think she thought this was a silent film--with her over-acting) and some crazy idea she could sing. Despite having a voice that might be able to raise the dead (they'll get up and run away--it's that bad), she sings three times in the movie!! This is especially odd since the film is NOT a musical! Next, we learn that Gloria's sister is now dating the same man that Gloria had slept with years earlier. Now common sense would say that could all be VERY quickly resolved if Gloria simply explained all this to her. But, because it's a shabbily written film, this is never done. Instead, she resolves to try to win back the old boyfriend and have her sister see that he's a horny bum. And, since Gloria is the super-vamp and is irresistible, he ultimately cheats on the pretty young sister and tries to seduce Gloria (frankly, I can't see this as Gloria looks pretty...well...less attractive). The sister sees this and it does the trick. But, the plan is not 100% effective, as the new boyfriend also happens to see what happened and assumed Gloria is cheating on him. None of this particularly good and it's really tough to believe.
The last 10 minutes of the movie are like an entirely different film. Instead of the serious melodrama (or 'over-melodrama') and singing, the last 10 minutes are sweet and funny. Too bad the entire film isn't like this as Swanson FINALLY was in her element--especially since she was originally a silent film comedienne. Gloria and her angry fiancée manage to pull off some wonderfully written, acted and directed scenes that are so good you really wish the whole film was like this. Just see this portion to understand what I mean.
Overall, this is far from Swanson's finest moment in film. While it's passable entertainment, the first 75% is slow, difficult to believe, dumb since the problem could have been easily resolved without the elaborate plan and the overacting and terrible singing make it a miserable experience.
"Too much 'all that'"
Steffi_P2 June 2011
Of all the many silent era stars, most of them female, whose careers would fizzle out in the sound era, the finest of them all was Gloria Swanson. A consummate actress since the late 1910s with a seemingly effortless ability to express vast amounts without stepping out of the bounds of realism, her skill and versatility were initially enough to secure her lead roles in the earliest talkies. Indiscreet is however among her last pictures before going into a retirement of sorts.
The movie is a romantic musical scripted by Buddy de Silva and directed by Leo McCarey, and is very much a product of its "pre-code" time. Just as the Marx Brothers comedies of this era had plots loosely thrown together for the sake of laughs, Indiscreet has a plot loosely thrown together for the sake of cheeky innuendo. One gets the impression that de Silva was a fan of rather crude sexual humour, and would been downright crass if he'd been allowed, the jokes are dressed up in such a sophisticated wit it seems almost admirable. Director McCarey had spent the silent era making slapstick shorts, and this is the earliest feature I have seen of his, but he seems to have adapted well, utilizing the long takes and relaxed camera that stood him in good stead for silent comedy. His gradual angle changes for the first musical number, "If You Haven't Got Love", eventually moving round to have Swanson facing the camera, are a nice way of subtly building up the song. It's a far cry from the ostentatious musical direction that would start to appear a few years later, but it fits the needs of these small, intimate numbers, and hints towards his incredibly light touch for 1944 Oscar-winner Going My Way.
And Miss Swanson's tuneful voice is a pleasant surprise, especially since few ex-silent stars could properly enunciate their lines, let alone sing. Her style seems entirely undaunted by the switch to sound. Still, she remains primarily a performer of visual expression, and Indiscreet provides us with some classic Swanson moments – a devilish flick of her eyes here, a sarcastic glance there. We also get to see some of the best examples of her comedic talents, such as her indignant attempt to butter crackers during the dinner party scene. This also comes as a surprise, since although Swanson started out at comedy studio Keystone she hated her tenure there, and never showed the sense of humour she does here. The other cast members of Indiscreet are certainly adequate, but none of them really stands out, with the exception of supporting player Arthur Lake who is rather good fun to watch. But even he remains a mere satellite around Swanson's star.
So, Indiscreet begs the question: If Swanson is so good here, and seems so smooth in her adaptation to sound, why did she stop making movies, barring one or two sporadic appearances before her spectacular comeback for Sunset Boulevard? It was probably at least partly because roles then tended to dry up for leading ladies once they were a few years into their thirties, and I doubt Swanson would have enjoyed living out her career playing matrons and mothers. And besides, it seems Swanson was by this point getting a little bored of Hollywood and movie life, and probably had in her more than a little of Norma Desmond's contempt for the talkies. But whatever her reasons, as Indiscreet shows, her departure was cinema's loss.
The movie is a romantic musical scripted by Buddy de Silva and directed by Leo McCarey, and is very much a product of its "pre-code" time. Just as the Marx Brothers comedies of this era had plots loosely thrown together for the sake of laughs, Indiscreet has a plot loosely thrown together for the sake of cheeky innuendo. One gets the impression that de Silva was a fan of rather crude sexual humour, and would been downright crass if he'd been allowed, the jokes are dressed up in such a sophisticated wit it seems almost admirable. Director McCarey had spent the silent era making slapstick shorts, and this is the earliest feature I have seen of his, but he seems to have adapted well, utilizing the long takes and relaxed camera that stood him in good stead for silent comedy. His gradual angle changes for the first musical number, "If You Haven't Got Love", eventually moving round to have Swanson facing the camera, are a nice way of subtly building up the song. It's a far cry from the ostentatious musical direction that would start to appear a few years later, but it fits the needs of these small, intimate numbers, and hints towards his incredibly light touch for 1944 Oscar-winner Going My Way.
And Miss Swanson's tuneful voice is a pleasant surprise, especially since few ex-silent stars could properly enunciate their lines, let alone sing. Her style seems entirely undaunted by the switch to sound. Still, she remains primarily a performer of visual expression, and Indiscreet provides us with some classic Swanson moments – a devilish flick of her eyes here, a sarcastic glance there. We also get to see some of the best examples of her comedic talents, such as her indignant attempt to butter crackers during the dinner party scene. This also comes as a surprise, since although Swanson started out at comedy studio Keystone she hated her tenure there, and never showed the sense of humour she does here. The other cast members of Indiscreet are certainly adequate, but none of them really stands out, with the exception of supporting player Arthur Lake who is rather good fun to watch. But even he remains a mere satellite around Swanson's star.
So, Indiscreet begs the question: If Swanson is so good here, and seems so smooth in her adaptation to sound, why did she stop making movies, barring one or two sporadic appearances before her spectacular comeback for Sunset Boulevard? It was probably at least partly because roles then tended to dry up for leading ladies once they were a few years into their thirties, and I doubt Swanson would have enjoyed living out her career playing matrons and mothers. And besides, it seems Swanson was by this point getting a little bored of Hollywood and movie life, and probably had in her more than a little of Norma Desmond's contempt for the talkies. But whatever her reasons, as Indiscreet shows, her departure was cinema's loss.
Film Suffers At Times Due to Silent Film Acting Style
marxsarx18 February 2004
This is only the second Gloria Swanson movie I've ever seen. The other one was Sunset Boulevard, of course.
I have mixed emotions about Indiscreet. Sometimes it is good, sometimes it is bad. For me, the film suffers because the actors and actresses seem to use silent film acting techniques which come across as ridiculous in a film which in many spots is a sparkling romantic comedy.
I would like to see some of Gloria Swanson's other talking pictures. We get glimpses of Gloria Swanson's talent in Indiscreet.
I rate it 6/10 or 65/100. Maude Eburn was terrific as aunt Kate. Arthur Lake was also amusing.
I have mixed emotions about Indiscreet. Sometimes it is good, sometimes it is bad. For me, the film suffers because the actors and actresses seem to use silent film acting techniques which come across as ridiculous in a film which in many spots is a sparkling romantic comedy.
I would like to see some of Gloria Swanson's other talking pictures. We get glimpses of Gloria Swanson's talent in Indiscreet.
I rate it 6/10 or 65/100. Maude Eburn was terrific as aunt Kate. Arthur Lake was also amusing.
Watch with Discretion
wes-connors30 September 2007
Gloria Swanson (as Gerry Trent) breaks it off with caddish Monroe Owsley (as Jim Woodward) in order to take up with novelist Ben Lyon (as Tony Blake). Later, Ms. Swanson's younger sister Barbara Kent (as Joan Trent) arrives - with the lover Swanson rejected! Swanson would rather little sister stick with boyish Arthur Lake (as Buster Collins); later, Mr. Lake will play Blondie's Dagwood Bumbstead. Star Swanson sings a couple of songs, and has an obligatory undressing / bathing scene.
Considering the strong personnel involved, this is a remarkably unsatisfactory film, even for an early "talkie". The "modern sophisticated comic" approach falls very flat (if that's what is intended). There is some suggestion of more "Adult" encounters than are present in the players' dialog - for example, Swanson breaks up with boyfriend Owsley and hands him his golf clubs; so, what are his golf clubs doing at her place? And, a later rain scene suggests Swanson had bedded down with the just-proposed Lyon. Swanson's portrayal is remarkably unsteady, at times, for a very accomplished actress who had already successfully transitioned from silent to sound. The material offered in "Indiscreet" couldn't have done much to advance anyone's career; unfortunately, Swanson is particularly slighted, being the star.
*** Indiscreet (4/25/31) Leo McCarey ~ Gloria Swanson, Ben Lyon, Arthur Lake, Barbara Kent
Considering the strong personnel involved, this is a remarkably unsatisfactory film, even for an early "talkie". The "modern sophisticated comic" approach falls very flat (if that's what is intended). There is some suggestion of more "Adult" encounters than are present in the players' dialog - for example, Swanson breaks up with boyfriend Owsley and hands him his golf clubs; so, what are his golf clubs doing at her place? And, a later rain scene suggests Swanson had bedded down with the just-proposed Lyon. Swanson's portrayal is remarkably unsteady, at times, for a very accomplished actress who had already successfully transitioned from silent to sound. The material offered in "Indiscreet" couldn't have done much to advance anyone's career; unfortunately, Swanson is particularly slighted, being the star.
*** Indiscreet (4/25/31) Leo McCarey ~ Gloria Swanson, Ben Lyon, Arthur Lake, Barbara Kent
Swanson's charming persona lights up the screen
flask7 September 2005
Although not a cinematic masterpiece, "Indiscreet" is a pleasant film in the vein of a P.G. Wodehouse farce with many charming moments. The dialogue is consistently sharp, often amusing, and is similar to the comedic repartee of later films by Preston Sturges, Billy Wilder, and Frank Capra. The plot revolves around a coquette, Geraldine Trent (Gloria Swanson), who finds the perfect man (Ben Lyon), only to be tempted by an old flame (Monroe Owsley). The choice she makes is easily predictable to connoisseurs of romantic comedy, but the plot of the film is of secondary importance due to the presence of Gloria Swanson.
Prior to viewing "Indiscreet," I had never seen Gloria Swanson in any other film aside from Billy Wilder's mesmerizing "Sunset Boulevard." To see Swanson in this film -- youthful, vivacious, and ravishing -- is to be in awe both of her beauty and her talent as an actress. A far cry from 'one-note' comediennes of the Silent Era, Swanson's range seems to be that of a modern performer: She imbues an otherwise shallow character with a layered, cheerful, and human personality. She is truly a forgotten and sparkling gem of early cinema.
The only downside of "Indiscreet" is Ben Lyon, cast as the love interest of Swanson's character. In contrast to Swanson's cinematic artistry, Ben Lyon is as flat, unromantic and devoid of charm as usual. Supposedly, Lyon was one of the most popular stars of Hollywood, but -- after seeing Lyon in several films -- I still fail to see justification for such laurels. Indeed, a cardinal sin of film is when the villain or rival beau is more charming and attractive than the so-called hero (Lyon). This film is guilty of that sin with Monroe Owsley, cast as the rival, being far more interesting than Lyon.
Despite the lackluster performance of Lyon and dated moments, "Indiscreet" is still a pleasant film and passes the time. Don't look for brilliance, but there is some entertainment to be gleaned. At the very least, watch "Indiscreet" to glimpse a young Gloria Swanson at the height of her feminine powers.
Prior to viewing "Indiscreet," I had never seen Gloria Swanson in any other film aside from Billy Wilder's mesmerizing "Sunset Boulevard." To see Swanson in this film -- youthful, vivacious, and ravishing -- is to be in awe both of her beauty and her talent as an actress. A far cry from 'one-note' comediennes of the Silent Era, Swanson's range seems to be that of a modern performer: She imbues an otherwise shallow character with a layered, cheerful, and human personality. She is truly a forgotten and sparkling gem of early cinema.
The only downside of "Indiscreet" is Ben Lyon, cast as the love interest of Swanson's character. In contrast to Swanson's cinematic artistry, Ben Lyon is as flat, unromantic and devoid of charm as usual. Supposedly, Lyon was one of the most popular stars of Hollywood, but -- after seeing Lyon in several films -- I still fail to see justification for such laurels. Indeed, a cardinal sin of film is when the villain or rival beau is more charming and attractive than the so-called hero (Lyon). This film is guilty of that sin with Monroe Owsley, cast as the rival, being far more interesting than Lyon.
Despite the lackluster performance of Lyon and dated moments, "Indiscreet" is still a pleasant film and passes the time. Don't look for brilliance, but there is some entertainment to be gleaned. At the very least, watch "Indiscreet" to glimpse a young Gloria Swanson at the height of her feminine powers.
feels like it started as a play
ksf-227 March 2023
Indiscreet is a fine film, made before the film code was really enforced, but still had silent film actors in the cast. The real story here is how gloria swanson successfully made the leap from silents to talkies. She and joan crawford had both made the "sadie thompson" story, although for joan, it was a talkie called "rain". Indiscreet is the story of joan trent falling for a guy who her older sister had dated previously. And he turned out to be a total cad. But when geraldine tries to warn her sister, she can't bring herself to hurt anyone's feelings. And joan's ex boyfriend butts in on his own behalf, and goofs things up even more! This feels like it started as a play, with all the feelings and extended periods of talking. The story itself is fine. Swanson didn't make a lot of films in the 1930s, 1940s, 1950s, as she had a couple kids by that time. Probably her best known film was the awesome sunset boulevard in 1950. Swanson was still getting the occasional role into the 1970s! Catch the 1931 version on turner classic or tubi streaming.
So-so vehicle for a lively Gloria Swanson
gridoon202430 April 2017
Warning: Spoilers
This early-1930s film is modern in some aspects (a woman dumps her unworthy boyfriend on New Year's Eve and prefers to celebrate the new year alone), dated in others (the same woman makes a lot of fuss about having a previous affair when she meets a new man). It's nothing special story-wise, but it's smoothly directed by Leo McCarey, and Gloria Swanson is beautiful, lively and expressive (only her singing is not so hot). There is a funny sequence that has her pretending to be crazy at a high-class party. The final gag will probably leave you with a smile on your face. **1/2 out of 4.
Gloria's flair for comedy
bkoganbing1 January 2014
Indiscreet which has nothing to do with the later more widely known Indiscreet that starred Cary Grant and Ingrid Bergman casts Gloria Swanson as a wealthy socialite who's a sadder but wiser girl after her involvement with Monroe Owsley. Owsley's who's even wealthier than Swanson just chalks up another, but then starts moving in on Swanson's sister Barbara Kent and that gets Swanson's dander up. Especially since she likes the guy Kent was previously going out with, Arthur Lake.
Her efforts to save her sister's virtue also put Swanson's own brand new relationship with Ben Lyon on the rocks.
This Indiscreet came out in 1931 where I'm sure the romantic complications of two rich sisters weren't really felt by the Depression Era audience. Still Indiscreet is a well done romantic comedy with a couple of songs by the great team of Buddy DeSylva, Lew Brown, and Ray Henderson. Sad to say the two numbers written for this films were not the team's best. Odd since they also produced this film.
Swanson had already proved she could sing on screen in The Trespasser where she introduced and later made a record of Love Your Magic Spell Is Everywhere. Later she did the screen version of the Jerome Kern- Oscar Hammerstein,II's Music In The Air.
Her flair for comedy hadn't diminished any from her silent days with Cecil B. DeMille. Indiscreet to be sure is badly dated, but still of interest to fans of Gloria Swanson.
Her efforts to save her sister's virtue also put Swanson's own brand new relationship with Ben Lyon on the rocks.
This Indiscreet came out in 1931 where I'm sure the romantic complications of two rich sisters weren't really felt by the Depression Era audience. Still Indiscreet is a well done romantic comedy with a couple of songs by the great team of Buddy DeSylva, Lew Brown, and Ray Henderson. Sad to say the two numbers written for this films were not the team's best. Odd since they also produced this film.
Swanson had already proved she could sing on screen in The Trespasser where she introduced and later made a record of Love Your Magic Spell Is Everywhere. Later she did the screen version of the Jerome Kern- Oscar Hammerstein,II's Music In The Air.
Her flair for comedy hadn't diminished any from her silent days with Cecil B. DeMille. Indiscreet to be sure is badly dated, but still of interest to fans of Gloria Swanson.
What's A Woman To Do?
rmax30482328 November 2011
Warning: Spoilers
Leo McCarey directed a few Laurel and Hardy shorts, then went on to more ambitious projects in the 1940s, hitting a home run with "Going My Way." But this production is by turns sluggish and snappy, and in the end uncertain of what it wants to be, romantic comedy or melodrama.
Gloria Swanson is a swinging chick who ends her affair with the duplicitous Monroe Owsley, presumably no relation to THE Owsley who made the best acid in the world. He's been promising to marry Swanson for some time but is just out to have as much fun as he can. Returning from a party, Swanson notes that he's been cuddling up to all the girls present and she picks a long hair from his evening clothes and examines it. "Why, Gerry," he protests, "this isn't like you." "No, I'm a brunette." The dialog sometimes has a bit of sparkle. Owsley claims he wants to go through with it. With what? "Oh, marriage and all that." "I'm afraid there'd be too much of 'all that'." Later, after Swanson meets her one true love, a novelist, her new beau asks if she makes a profit at designing dresses. She's afraid not. She always winds up wearing her own designs. "Too bad. I was hoping I could quit work." Still, the impatient novelist wants to get married right away. "It's much more fun to be married first and get to know each other afterward." Swanson: "Have you ever tried it?" Well, he hasn't tried it but it's not such a bad idea. In 1931 they were doing it in India all the time, and recent studies have shown that arranged marriages and so-called love marriages even out, in terms of satisfaction, after a few years.
There's also a rather extended shot of the novelist fiddling around with the pumps on Swanson's stockinged feet. (What ARE pumps, anyway?) He shoehorns her feet into them with a playing card and the camera seems to salivate over the process like Bunuel's. Well, we all have our quirks. But though my own collection of lady's shoes is probably the equal of McCarey's I wouldn't dream of putting my fetish on display in public view. Nobody on earth will ever know that I am channeling Imelda Marcos.
Gloria Swanson was superb in "Sunset Boulevard". She was really a very savvy lady, not at all like her screen character. And in "Sunset Boulevard" she had the perfect stagy voice for the part, as if she were imitating herself. Alas, she has the same voice here, as the newly graduated poo-poo-pe-doo ex flapper. Her singing voice is nicely controlled but she isn't really convincing when she speaks.
The plot is treated at times as a yeasty comedy but it's really a story of Swanson's conflict. She's just ended an affair with the man her niece is about to marry. Should she tell? Ho hum.
As one reviewer noted, there is a scene in which Swanson bathes and, yes, it's true that she undresses before entering the shower, although the viewer gets to see no more than her nimble knees. And, yes, it's also true that when she throws her first inconstant suitor out, she hands him his golf bag which has been stashed in her closet, suggesting that he's spent a good deal of time at her place, perhaps for reasons best left unexamined.
But let's also note another scene. When they are alone in the apartment she goes into a throbbing clinch with her new lover and McCarey cuts to the rain falling softly outside the window. I hate to say it but this is a common cinematic convention suggestive of still MORE illicit copulation. If it's not falling rain, it's a door swinging to and fro in the wind, or foaming combers curling on a beach, or a thunderstorm criss-crossed with lightning, or a fire crackling passionately in the hearth. What kind of a broad IS this, anyway?
Gloria Swanson is a swinging chick who ends her affair with the duplicitous Monroe Owsley, presumably no relation to THE Owsley who made the best acid in the world. He's been promising to marry Swanson for some time but is just out to have as much fun as he can. Returning from a party, Swanson notes that he's been cuddling up to all the girls present and she picks a long hair from his evening clothes and examines it. "Why, Gerry," he protests, "this isn't like you." "No, I'm a brunette." The dialog sometimes has a bit of sparkle. Owsley claims he wants to go through with it. With what? "Oh, marriage and all that." "I'm afraid there'd be too much of 'all that'." Later, after Swanson meets her one true love, a novelist, her new beau asks if she makes a profit at designing dresses. She's afraid not. She always winds up wearing her own designs. "Too bad. I was hoping I could quit work." Still, the impatient novelist wants to get married right away. "It's much more fun to be married first and get to know each other afterward." Swanson: "Have you ever tried it?" Well, he hasn't tried it but it's not such a bad idea. In 1931 they were doing it in India all the time, and recent studies have shown that arranged marriages and so-called love marriages even out, in terms of satisfaction, after a few years.
There's also a rather extended shot of the novelist fiddling around with the pumps on Swanson's stockinged feet. (What ARE pumps, anyway?) He shoehorns her feet into them with a playing card and the camera seems to salivate over the process like Bunuel's. Well, we all have our quirks. But though my own collection of lady's shoes is probably the equal of McCarey's I wouldn't dream of putting my fetish on display in public view. Nobody on earth will ever know that I am channeling Imelda Marcos.
Gloria Swanson was superb in "Sunset Boulevard". She was really a very savvy lady, not at all like her screen character. And in "Sunset Boulevard" she had the perfect stagy voice for the part, as if she were imitating herself. Alas, she has the same voice here, as the newly graduated poo-poo-pe-doo ex flapper. Her singing voice is nicely controlled but she isn't really convincing when she speaks.
The plot is treated at times as a yeasty comedy but it's really a story of Swanson's conflict. She's just ended an affair with the man her niece is about to marry. Should she tell? Ho hum.
As one reviewer noted, there is a scene in which Swanson bathes and, yes, it's true that she undresses before entering the shower, although the viewer gets to see no more than her nimble knees. And, yes, it's also true that when she throws her first inconstant suitor out, she hands him his golf bag which has been stashed in her closet, suggesting that he's spent a good deal of time at her place, perhaps for reasons best left unexamined.
But let's also note another scene. When they are alone in the apartment she goes into a throbbing clinch with her new lover and McCarey cuts to the rain falling softly outside the window. I hate to say it but this is a common cinematic convention suggestive of still MORE illicit copulation. If it's not falling rain, it's a door swinging to and fro in the wind, or foaming combers curling on a beach, or a thunderstorm criss-crossed with lightning, or a fire crackling passionately in the hearth. What kind of a broad IS this, anyway?
Gloria Swanson's comedy
netwallah4 July 2006
Warning: Spoilers
A romantic comedy with early screwball tendencies, starring Gloria Swanson as Geraldine "Gerri" Trent, a fairly well-to-do fashion designer. It's New Year's Eve as Gerri breaks up with Jim Woodward (Monroe Owsley), who is handsome, slick, dapper, pleasant, and completely untrustworthy. She knows he's been carrying on with lots of other women, and hands him his hat. He keeps acting as if he doesn't understand (or accept) that she's kicking him out. He doesn't deny that he's been unfaithful, and protests that it's the male prerogative: "After all, a man must live..." Calmly she replies, "I've often wondered why it was necessary. In some cases." She calls him back, he gloats, she hands him his golf clubs and sends him packing. This scene works partly because Owsley gives us a caricature of the vain,arrogant, inconstant male, and partly because Swanson is so composed and drily witty as she dumps him. Soon after she's fallen in love with Tony Blake (Ben Lyon), a charming novelist, and things go swimmingly until he expresses some reservations about a woman with a history, and she grows afraidand farcical plot complications begin. Gerri has a young sister, Joan (Barbara Kent), just returning from two years at school in Europe, and she's got a secret. She's just gotten herself engagedto the skunk Woodward. The rest of the movie unwinds around attempts to keep Tony from finding out about her past, and to keep Joan from marrying Woodward.. Everything crashes when Gerri tries to separate them by feigning insanityit's quite amusingand then by pretending to be in love with Woodward still. It works, but Tony sees and storms out of her life. Everything ends happily after a madcap rush to a departing ship. Swanson tries hard to do everythingto be a cynical dame, a rapturous young woman in love, a glamorous member of high societyand so she cracks jokes, runs about and indulges in slapstick, sighs heavily and swoons romantically, gives terrifying angry looks, and she even sings. Three times. Her voice is good enough, but it seems a little shrill for the material, and at the same time blandor maybe that's just the songs she was given. Also noteworthy are two minor characters, Joan's gangly first suitor Buster (Arthur Lake), who seems to be growing out of his clothes at every minute and possesses a wonderful rolling gait that threatens to overbalance him. And there's also Aunt Kate (Maude Ebern), one of the greatest of the stock aunt figures, a comic foil, provider of good counsel, and source of comic undercutting of social pretension.
A rather outdated screwball comedy. Not Gloria Swanson at her best
frankde-jong24 January 2022
Before seeing this film, my expectations were high.
Director Leo McCarey would make the magnificent "Make way for tomorrow" (1937) a few years later.
Gregg Toland, one of the cinematographers, would popularize deep focus in "Citizen Kane" (1941, Orson Welles).
Last but not least lead actress Gloria Swanson was great at the end of her career in "Sunset boulevard" (1950, Billy Wilder). When she was so good at the end of her career, what would she be like at her prime?
Often high expectations are a recipe for the disappointment that follows, and this is not an exception. The film turns out to be a rather slow and outdated screwball comedy.
What is for example the problem of having dated in the past? This doesn't mean that you are cheating on your current fiancé, at least not by current standards. Removing the secrecy surrounding a past engagement would however knock the bottom out of the entire plot.
The film is not at par at all with the quality of for example the screwball comedy's of Howard Hawks. Only a couple of scenes are funny enough or fast enough to make the firm worthwile.
The conclusion has to be that Gloria Swanson saved the best for last. That is also the picture you get when sorting her performances on IMDB rating. As a disclaimer it has to be added however that the quality of a film is only partially dependent on the actors.
Director Leo McCarey would make the magnificent "Make way for tomorrow" (1937) a few years later.
Gregg Toland, one of the cinematographers, would popularize deep focus in "Citizen Kane" (1941, Orson Welles).
Last but not least lead actress Gloria Swanson was great at the end of her career in "Sunset boulevard" (1950, Billy Wilder). When she was so good at the end of her career, what would she be like at her prime?
Often high expectations are a recipe for the disappointment that follows, and this is not an exception. The film turns out to be a rather slow and outdated screwball comedy.
What is for example the problem of having dated in the past? This doesn't mean that you are cheating on your current fiancé, at least not by current standards. Removing the secrecy surrounding a past engagement would however knock the bottom out of the entire plot.
The film is not at par at all with the quality of for example the screwball comedy's of Howard Hawks. Only a couple of scenes are funny enough or fast enough to make the firm worthwile.
The conclusion has to be that Gloria Swanson saved the best for last. That is also the picture you get when sorting her performances on IMDB rating. As a disclaimer it has to be added however that the quality of a film is only partially dependent on the actors.
A big disappointment for Swanson fans!
JohnHowardReid11 May 2018
Warning: Spoilers
Gloria Swanson (Geraldine Trent), Ben Lyon (Tony Blake), Arthur Lake (Buster Collins), Barbara Kent (Joan Trent), Monroe Owlsley (Jim Woodward), Maude Eburne (Aunt Kate), Henry Kolker (Woodward), Nella Walker (Mrs Woodward), Harry Watson (baseball captain).
Director: Leo McCarey. Screenplay: Buddy G. DeSylva, Lew Brown, Ray Henderson, Leo McCarey. Photography: Gregg Toland, Ray June. Film editor: Hal C. Kern. Art director: Richard Day. Costumes designed by René Hubert. Music director: Alfred Newman. Song, "Obey That Impulse" (Kent dubbed by Diana Gaylen) by Buddy DeSylva, Lew Brown, Ray Henderson. Production manager: James Dent. Assistant director: Harry Scott. Sound recording: Oscar Lagerstrom. Producers: Buddy DeSylva, Lew Brown, Ray Henderson. Executive producer: Joseph M. Schenck.
Copyright 6 April 1931 by Feature Productions, Inc. Released by United Artists. New York opening at the Rialto: 6 May 1931. Presented by Joseph M. Schenck. 10 reels. 92 minutes.
SYNOPSIS: Girl doesn't want to tell her fiancé about her previous live-in lover.
COMMENT: Gloria Swanson's fans are unlikely to cheer her efforts in this feeble vehicle in which she is easily outshone not only by every other member of the cast, but also by just about very prop including the villain's golf bag! The problem is that she looks far too old for the part and has lost all the powerhouse appeal she exhibited ten years earlier when she captivated audiences in Male and Female and The Affairs of Anatol.
Here, she looks so dumpy and unattractive, it's hard to swallow the plot. Her clothes, her make-up, her acting style are all a dead loss. Oddly, it's only her singing voice that registers.
Never mind, the other players shape up as no great shakes either, though compared to La Swanson, they seem very modern models of histrionic aptitude. And as for the technical credits, neither McCarey's direction nor the contributions of the photographer, the art director, the film editor and the costumer ever rise above the mediocre. Even the music score contributed by the famed songwriting team, DeSylva, Brown and Henderson (who also produced), seems distinctly second-rate. In short, this Indiscreet packs in lots of curiosity appeal, but little else.
Director: Leo McCarey. Screenplay: Buddy G. DeSylva, Lew Brown, Ray Henderson, Leo McCarey. Photography: Gregg Toland, Ray June. Film editor: Hal C. Kern. Art director: Richard Day. Costumes designed by René Hubert. Music director: Alfred Newman. Song, "Obey That Impulse" (Kent dubbed by Diana Gaylen) by Buddy DeSylva, Lew Brown, Ray Henderson. Production manager: James Dent. Assistant director: Harry Scott. Sound recording: Oscar Lagerstrom. Producers: Buddy DeSylva, Lew Brown, Ray Henderson. Executive producer: Joseph M. Schenck.
Copyright 6 April 1931 by Feature Productions, Inc. Released by United Artists. New York opening at the Rialto: 6 May 1931. Presented by Joseph M. Schenck. 10 reels. 92 minutes.
SYNOPSIS: Girl doesn't want to tell her fiancé about her previous live-in lover.
COMMENT: Gloria Swanson's fans are unlikely to cheer her efforts in this feeble vehicle in which she is easily outshone not only by every other member of the cast, but also by just about very prop including the villain's golf bag! The problem is that she looks far too old for the part and has lost all the powerhouse appeal she exhibited ten years earlier when she captivated audiences in Male and Female and The Affairs of Anatol.
Here, she looks so dumpy and unattractive, it's hard to swallow the plot. Her clothes, her make-up, her acting style are all a dead loss. Oddly, it's only her singing voice that registers.
Never mind, the other players shape up as no great shakes either, though compared to La Swanson, they seem very modern models of histrionic aptitude. And as for the technical credits, neither McCarey's direction nor the contributions of the photographer, the art director, the film editor and the costumer ever rise above the mediocre. Even the music score contributed by the famed songwriting team, DeSylva, Brown and Henderson (who also produced), seems distinctly second-rate. In short, this Indiscreet packs in lots of curiosity appeal, but little else.
Over dramatic
AAdaSC23 March 2019
It's New Year's Eve and Gloria Swanson (Gerry) dumps her unfaithful boyfriend Monroe Owsley (Jim). She then starts her life anew and becomes the obsession of novelist Ben Lyon (Tony). Swanson has a sister Barbara Kent who returns from her overseas education with a man she intends to marry. Her long-time boyfriend is goofy Arthur Lake (Buster) but he is about to be dumped for this new guy. The new man is Owsley. This could be interesting....
...but it isn't. The film is ok - quite boring actually. Swanson carries it completely. After an engaging beginning, the first scene has some great dialogue, we are then introduced to the rather bland Ben Lyon and the film gets boring. It ends well with Swanson trying to board a ship - she uses 3 very funny techniques to get aboard - but between the enjoyable beginning and ending, there are few moments that stand out. We also get songs randomly thrown in - nice enough but totally forgettable. No point, really. I get the feeling that some of the songs were completely cut from the film because there are at least 2 occasions I spotted when Swanson turns to camera and you feel a song coming, and then there is a sudden cut. You can even hear the song beginning in the bad editing.
The story is pretty dumb - it involves an elaborate plot to save Kent from marrying Owsley. After Swanson, he's the most entertaining character and they make a far more interesting couple who could definitely have a future together. Some of the comedy works, some doesn't - take note at the mostly feeble attempts that Swanson makes at the dinner table as she feigns insanity and the unrealistic reaction of host Henry Kolker. The sugar lumps bit is funny, though - one, two, buckle my shoe.
...but it isn't. The film is ok - quite boring actually. Swanson carries it completely. After an engaging beginning, the first scene has some great dialogue, we are then introduced to the rather bland Ben Lyon and the film gets boring. It ends well with Swanson trying to board a ship - she uses 3 very funny techniques to get aboard - but between the enjoyable beginning and ending, there are few moments that stand out. We also get songs randomly thrown in - nice enough but totally forgettable. No point, really. I get the feeling that some of the songs were completely cut from the film because there are at least 2 occasions I spotted when Swanson turns to camera and you feel a song coming, and then there is a sudden cut. You can even hear the song beginning in the bad editing.
The story is pretty dumb - it involves an elaborate plot to save Kent from marrying Owsley. After Swanson, he's the most entertaining character and they make a far more interesting couple who could definitely have a future together. Some of the comedy works, some doesn't - take note at the mostly feeble attempts that Swanson makes at the dinner table as she feigns insanity and the unrealistic reaction of host Henry Kolker. The sugar lumps bit is funny, though - one, two, buckle my shoe.
Swanson Makes It Worthwhile
Snow Leopard5 December 2005
Gloria Swanson's lively screen presence and engaging energy make "Indiscreet" worth seeing. The story setup has some good possibilities, but aside from Swanson it never really takes full advantage of them. Most of the supporting cast is only adequate, and the script overlooks some good opportunities to make for more compelling drama and wittier comedy.
The movie starts with Jerry (Swanson's character) getting rid of a sleazy boyfriend, finding a new man more worthy of her, and then having her ex-lover return as her sister's new beau. Her fear of the past being revealed, combined with her protective feelings for her sister, set up the kind of internal conflict that can make a movie character quite memorable. And Swanson is quite believable in the part, but the script and the rest of the cast give her little help. (An exception is Maude Eburne, who gets some good moments as Jerry's spirited aunt.)
Leo McCarey was a sure-handed director, especially with comedy. Here, although he creates some good moments, there are times when it is not hard to see that he is still developing his touch. That's nothing against McCarey, because in the late 1920s and early 1930s even the best directors were still in the process of adjusting to sound movies, and McCarey had already made some fine movies, with plenty more to come.
Her performance in this role shows that Swanson could have had a future in the sound era, but unfortunately she, like so many silent-era stars, was not served well by the studio system in the new era of film-making. Here, she is well above the level of most of the rest of the movie.
The movie starts with Jerry (Swanson's character) getting rid of a sleazy boyfriend, finding a new man more worthy of her, and then having her ex-lover return as her sister's new beau. Her fear of the past being revealed, combined with her protective feelings for her sister, set up the kind of internal conflict that can make a movie character quite memorable. And Swanson is quite believable in the part, but the script and the rest of the cast give her little help. (An exception is Maude Eburne, who gets some good moments as Jerry's spirited aunt.)
Leo McCarey was a sure-handed director, especially with comedy. Here, although he creates some good moments, there are times when it is not hard to see that he is still developing his touch. That's nothing against McCarey, because in the late 1920s and early 1930s even the best directors were still in the process of adjusting to sound movies, and McCarey had already made some fine movies, with plenty more to come.
Her performance in this role shows that Swanson could have had a future in the sound era, but unfortunately she, like so many silent-era stars, was not served well by the studio system in the new era of film-making. Here, she is well above the level of most of the rest of the movie.
talky talkie with musical interludes
mukava9911 March 2014
This 1931 release is weighed down by too much wan dialogue (further impaired by a damaged soundtrack). Gloria Swanson, playing some sort of sophisticated commercial artist, dumps her philandering boyfriend (weasly-faced Monroe Owsley as
what else? an irresponsible party boy) for a novelist (charmingly played by Ben Lyon), only to discover months later that her innocent younger sister (Barbara Kent) is now engaged to the cad, whereupon she plots to undo the union. Inserted into this rather unexciting scenario are two good DeSylva, Brown & Henderson numbers, both sung by Swanson ("If You Haven't Got Love" and "Come to Me," the latter sung twice); the music to "One More Time" is heard in a night club scene. If this seems odd for a straight comedy-drama, the reason is that DBH originally wrote the script as a musical. Too bad their plan didn't pan out. Swanson commands the screen but some of the situations she is required to play have dated badly. There are a couple of cute bits of slapstick worked in at a breakfast gathering and a ship's deck, but it's mostly routine and worth a look and listen only if you're a fan of any of the stars or if you like DeSylva-Brown and Henderson songs.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
