Alimony

"Alimony" from 1949 is a low budget film that nevertheless sports a good cast: John Beal, Hillary Brooke, Martha Vickers, and Leonid Kinsky.

Beal is a composer, Dan, who narrates his story in flashback when he is visited by Kitty (Vickers) father, who is trying to find her. Dan admits that he hasn't seen Kitty in a couple of years.

Dan lives in a convivial rooming house along with his fiancee Linda (Brooke) though they don't share a room. It's 1949 after all. Dan stays up until all hours of the night playing his piano, but no one ever complains.

Kitty comes along, and, once she hears Dan's compositions are going to be used in a new Broadway musical, decides that he's all hers. And Dan falls for her. He breaks up with a heartbroken Linda.

The musical falls through, and Kitty is out the door. Dan is left to try to win Linda back. No problem. She succumbs in no time. Dan, however, in the throes of amore, has written a song for Kitty. It becomes a big hit, and now the two are inextricably linked, even touring together, to Linda's disgust. But she decides to fight for her man and get him back. Again.

Not much point to this. I met John Beal some years ago. He was a lovely man and better than this!

Martha Vickers comes to the big town to make some money. Swimsuit modeling requires no skill, and she soon becomes a specialist in being the 'other woman', framing husbands in compromising situations for wives who want a divorce. She decides to steal aspiring songwriter John Beal away from his wife, and inspires him to pen a hit love song. She learns to sing and tours with him as his Inspiration: a floozy chanteuse, taking him for as much money as she can get, while his royalties dry up.

it's a cheap, sordid little story, with no real point except that men are dogs and need to chase cars and make messes on the living room rug . The performers take it all seriously and do their best, but there isn't much to it. It's from Eagle-Lion, and looks like the script was pulled out of the PRC vault.

Produced by the obscure Equity Pictures, this tale of woe features a decidedly third-string cast, and a disjointed, unfocused and under-motivated script -- possibly the result of avoiding the wrath of the Breen office, or possibly plain incompetence. Zeisler was one of the more interesting directors working on Poverty Row, and manages to keep the story moving, instilling it with his usual arid fatalism. However, he fails to emphasize some of the key plot developments, and a clever last-minute twist is pretty much wasted. Many of the background details are patently ridiculous; e.g., Beal's overenthusiastic songwriter thumps on the piano all night in his boarding house's salon without eliciting complaint from his fellow boarders, and his girlfriend is absurdly forgiving of his two-timing indiscretions. Martha Vickers, dolled up like a waxworks, makes one of the least alluring femmes fatales in history, Beal must have been a desperation choice for a leading man, and the original songs are incredibly verbose. Despite its shortcomings, B-movie aficionados will be intrigued by the surprisingly overt depiction of unscrupulous women luring unsuspecting husbands into compromising positions to extract alimony. There's some good support from Laurie Lind as the cynical golddigger friend of the lead character, and from Hollywood's favourite stereotype East European eccentric, Leonid Kinskey, as a song plugger.

The film begins with Dan talking to Mr. Klinger about the exploits of Klinger's daughter, Kitty. What follows is a very lengthy flashback. It seems that Kitte was interested in getting rich fast. She worked for a while as a girl who would help blackmailers. When a mark came into the room with her along, she'd strip off much of her clothes and grab the guy...while her partner snapped incriminating photos! Tired of this racket, she now set her mind to bigger game and eventually this meant Dan. While Dan was happily dating Linda, Kitty schemed to seduce him away from her...all because she thought Dan was destined for riches. And, when this didn't pan out and Dan's musical career didn't appear to be paying off, she dropped him and was on to the next scheme.

In many ways, this is like the great Pre-Code film, "Red-Headed Woman"...but more sanitized and without the great style of this earlier film. Now I am not saying it's bad...but "Red-Headed Woman" is so amazing and entertaining that it's no disgrace to not be as good as this scandalous film. Overall, a decent low-budget film...enjoyable because Kitty is so darn awful!

By the way, the landlady in the film is Marie Blake (also known by the stage name 'Blossom Rock'). That's Jeanette MacDonald's older sister...and Grandmama from the TV show "The Addams Family".

Alimony is a cheapie from the short lived Eagle-Lion Studios and it has some shoddy editing and a cop out ending. But the story is not a bad one and some interesting players give some nice performances.

The whole thing is narrated by John Beal who is now a successful composer telling Paul Guilfoyle, the father of Martha Vickers about his daughter who was just released from prison. It's not stuff a father wants to hear about his daughter.

Beal is married to Hillary Brooke and at one time all three were boarders at Marie Blake's rooming house. Brooke is the good girl and Vickers who was best known for being Lauren Bacall's sister in The Big Sleep is the bad one.

Vickers is the inspiration for a hit song that Beal wrote for his first big break. She latches on to him, but this is a girl who keeps her options open.

One of those options is an Alimony racket. She's the come on in staging phony situations for bottom feeding divorce attorney Douglass Dumbrille. It's what leads to her downfall.

Dumbrille really does this part with relish. He's the poster child for shyster attorneys. Clearly the best one in the film. There's also a nice performance by Leonid Kinskey who is Beal's agent.

This one considering its defects is not too bad. Maybe at Warner Brothers with Bette Davis and Olivia DeHavilland in the parts that Vickers and Brooke have this might have been a good film. Certainly a major studio might have corrected the defects present here.