1930s_Time_Machine

This focusses on one of those weird historical facts we've learned from watching early-thirties movies: for a 'nice' girl to have sex, she had to be married - that wasn't an option, it wasn't even a question. For an unmarried girl to wonder if she could have sex was as absurd as wondering whether she could fly.

That's essentially all this is about: the sexual frustration of a couple of teenagers but in the hands of author William Inge and Elia Kazan this becomes a fascinating drama, a piece of social history and a surprisingly entertaining couple of hours. Inge and Kazan, clearly were unaware of the words 'subtle' or 'restrained' when committing this explosion of emotions to celluloid to hammer home the point that sex before marriage was such a massive thing back then. Every character is such a hyped-up stereotype that they'd be unbelievable were they not surrounded by other equally stereotypical clichés. In creating such an unrealistic reality, their story really works.

For those of you who watch pre-code movies, this hyper-exaggeration of characters, this deliberate melodramatic approach is perfect, absolutely perfect in depicting the late twenties. This is exactly how those movies tell us how things were back then. Even those exaggerations of reality must have had at least some grain of truth in them? Even if they didn't, that's how this era is preserved in our minds and that's how this era is wonderfully reflected here.

Inge apparently based these characters on people he grew up with back in Kansas. I think his memories must have included watching CAT ON A HOT TIN ROOF as well since the dad in this is undoubtedly the exact same person. Nevertheless, he's still a great over-the-top character but no more over-the-top than everyone else. Each of the characters are more symbolic of the various attitudes of the time than they are of actual people.

Warren Beaty might not be the obvious choice for someone to represent sexual restraint but his performance is exceptional. Natalie Wood however demonstrates that she was one of cinema's greatest actresses. In that last scene as she drives off into the distance, with just her eyes she conveys almost as much emotion as when Cathy died in Heathcliff's arms - an incredible performance.

But first rate pretty young ladies - indeed four, yes four first rate pretty young ladies! But even gazing at Sally Gray, Claire Luce etc. Isn't enough to make watching this worthwhile - except maybe as a snapshot of 1930s popular entertainment.

Unlike the 1930s films from the Aldwych Farce team which were funny, frenetic fast-moving farces, Lupino's films suffer from them being a general all round reflection of a typical music hall show. With an obligatory mix of song and dance and jokes, the comedy is diluted. Although this isn't going to make you laugh, the infectious cheerfulness of everyone might just lighten your mood. Another thing you'll find is that however tiresome the humour gets, you'll find it totally impossible to dislike Mr Lupino.

Whilst this looks good and certainly commands your attention, the depth of characters you expect from a James Hilton story is missing in this one. This one's plot driven rather than character based.

Unlike film adaptations of Hilton's better known and indeed better stories like MR CHIPS, LOST HORIZON or WE ARE NOT ALONE (his best) which leave your mind turning over his ideas and themes, this based on The Dawn of Reckoning, feels quite shallow. It's a clever story but it's not really any different to an episode of Poirot or an episode of a Sunday night TV murder mystery show.

Films from this era dealing with mental illness often seem painfully ignorant but this one does offer a reasonable perspective. Robert Montgomery's performance has been heavily criticised but his deadpan delivery does pretty accurately reflect that something's not quite right with him. Audiences back then were more used to seeing "crazy" people much more as caricatures rather than emotionally repressed tortured souls. Traditionalists however need not worry - we've still got the stereotypical eccentric mad psychiatrist.

If you want a slick, well made, run of the mill murder mystery with a psychological twist, you might enjoy this. Don't however expect anything too special.