Amor de Mãe

Yikes! and we all thought Joan Crawford was THE horror Mommy Dearest...well Laura Hope Crewes as Mom in this stinging 4 character film delivers (and cops) the goods in this cracker of a marital Mommy mangle.....THE SILVER CORD is a genuinely sensational pre code drama from RKO made in 1932 released in '33 from a 1929 play. So astonishing, frank and honest is each startling verbal exchange between one son's wife (IreneDunne) along with the other's fiancé as these two younger girls together go to war - gleefully angrily unwrapping the clearly incestuous hankerings of Mom towards her hunky eldest son played by virile Joel MacCrea and her younger 'beau'/son payed by delicate and beautiful 25 year old actor Eric Linden. I would think this film played to many howling appreciative audiences in huge theaters in 1933 and offers viewers even in 2005 a very fruity melodrama enlivened by crackling dialog not afraid to call Mother exactly as she is. This film would have been impossible to make after the censorship code came in after 1934. Other viewer comments on the IMDb support my reaction and you will find almost everyone lucky enough to see (and tape) THE SILVER CORD will agree it is an unforgettable and pungent script in a superbly produced film. It would have played like the VIRGINIA WOLF of 1932. Laura Hope Crewes must have kissed the sound stage at RKO for this role of a lifetime..even more than her fluffy turn in GWTW. Irene Dunne is as gorgeous and casual and believable as ever, fighting for her husband yet again, and it is well worth seeing The Divorcée made in 1929 as a companion piece to THE SILVER CORD. Joel MaCrea is certainly in the same league as Cary Grant and Randolph Scott in the handsome and lovable stakes. I had never seen Eric Linden in a real acting role before (he played the leg amputee in the hospital horror scene in GWTW) and here he is startling and youthful with an excellent role as Robert, the younger and more sensitive son. Some verbal barbs leveled at him again would not get past the Code office if made later. This is a really good film, and if the viewer forgives some of the creakiness of its time and settles in for a sparring match of unequaled pungency for a 1932 movie, you will be well rewarded. At first I thought some of the throat clutching melodrama of Mother was dated until I realized it was a set up of the excellent screenplay to make the viewer laugh at her as though she is a weak little old lady......NOT..... but nor are the other two women in this powerhouse play on film, hence the fantastic retort dialog. That ocean-liner seen in reel one is THE LEVIATHAN the monster ship the US won from the Germans in WW1 that was so huge and unwieldy that crews were nervous wrecks trying to wrestle with it upon the Atlantic. It is infamous for ploughing headfirst up a colossal wave in a storm and shot over the crest at such an angle the spine along the bottom cracked and the ship split vertically between the funnels. It limped to port with rattling steel panels and winking rivet holes...and mentally shattered crew and passengers. It was scuttled in 1935 after being cursed and plagued with horror mechanical problems all its existence. Not such a war prize after all.

Anyway, the dialog in THE SILVER CORD is enough excitement for one night: eg: "Mother! the Doctor said there was nothing wrong with you, in fact he said it would take a stick of dynamite to kill you". Whammo!

"Now what I say about children is this: Have 'em, Love 'em. And then leave 'em be."

The pre-Code era is full of villains and gangsters, but none are more evil than this woman so wonderfully played by Laura Hope Crews, though she is a monster of a very different sort - a smothering, manipulative mother who deliberately sabotages the romantic relationships of her two sons.

We see that we're not just dealing with a mother struggling to accept a new phase in life when she talks to her younger son (Eric Linden) with his head in her lap. She tells him that he and his fiancée (Frances Dee) don't love each other and that he should leave her, a suggestion the milquetoast young man passively accepts , and then she says "I won't have to be lonely now" before leaning down to kiss him fully on the lips. It's an extraordinary moment, even considering the custom of the period, when it wasn't uncommon for a parent to kiss their child on the mouth (and note earlier we see the two prospective sisters-in-law doing it in a way that would raise eyebrows today, but which was clearly innocent then). Later she lays a smooch on the older son (Joel McCrea) as he's about to go to bed, and it's telling that the peck he gives his wife (Irene Dunne) afterwards is shorter in duration. There's a real mental illness here, one that has the sons under her sway, and ultimately we find that she's displaced the romance missing from her marriage onto her sons.

The women in this film truly shine, starting with Laura Hope Crews of course, but also Irene Dunne and Frances Dee, each of whom have some fantastic moments confronting her. In addition to the main theme of a possessive parent, the film also points out that women can be brilliant and have a career in addition to being a wife and mother (and a research biologist no less). Meanwhile, as the mother clings to her sons, she pathetically voices the fear of the older generation, that women having careers is putting motherhood "in some danger of vanishing from the face of the earth."

The film is a little infuriating because of how weak the two sons are, but this is a script which has no wasted scenes, great dialogue, and great pace - and with the psychological manipulation taking place on top of it, it all feels very modern. It's an example of a film I love finding out about from the pre-Code era, as it seems to be lesser known and feels so alive, despite its age.

Who won the best actress Oscar for 1933? It should have been Laura Hope Crewes for her magnificent portrayal of the most monstrous mother ever. She truly is one of the great character actresses of all time. She played the frivolous Prudence Duvernoy in "Camille" (1936) and her best remembered role is Aunt Pittypat in "Gone With the Wind".

Irene Dunne was the "official" star of the film but her scenes with Laura Hope Crewes were dynamite.

David (Joel McCrea) is in Heidelberg when he is offered a job in New York. His wife, Christine (Irene Dunne) can continue her studies at the Rockafellar Centre. Their first stop in America is a visit to David's mother, Mrs. Phelps. To say that Laura Hope Crewes dominates every scene is an under-statement. From her first entrance - in a frantic burst of effort to greet her "big boy" - all attention is on her. Even sitting around the tea table, when she forgets Hester's existence, even forgetting how she takes her tea, you know something is not quite right.(Hester has been living there for a while.)

Frances Dee is completely sweet and so right in her role as the adorable Hester. Her performance in this film, especially the scene where she has hysterics and the aftermath proves how under-rated as an actress she was.

All the young cast are excellent. Eric Linden is superb as Robert, the younger son who comes to the realization that his mother is horrible but can do nothing about escaping from his mother's spell. Joel McCrea, at one point says "painting roses on bathtubs - that's more your style". There is a very subtle suggestion in the film of Robert's sexuality.

Irene Dunne is excellent in whatever film or genre she tried.

THE SILVER CORD (RKO Radio, 1933), directed by John Cromwell, is a story about two sons (Joel McCrea and Eric Linden) whose widowed mother (Laura Hope Crews) tries to destroy their happiness with the women (Irene Dunne and Frances Dee) they love and marry. The movie adaptation, taken from the 1929 stage play, also directed by Cromwell, starred Laura Hope Crews. While Dunne and McCrea have feature billing in the screen version, it is Crews, reprising her stage role, who carries the story from start to finish. Inasmuch as it is a filmed staged play, very talky with little action, the story itself is never boring, especially when it relies on the shock value of Crews' excessive selfishness that gives the plot some entertaining bite.

THE SILVER CORD became the very first movie I got to see when American Movie Classics was added to the system by my local cable system. It fact, up to that time, it was rarely televised anywhere, with the exception of its dubbed Spanish TV broadcast in the early 1970s on WNJU, Channel 47, in Newark, New Jersey. For a while, American Movie Classics aired THE SILVER CORD from 1984 to 1994 until Turner Classic Movies finally got to air this now rarely seen gem May 3, 2020.

As for Crews (born November 13, 1879), the actual star of this product, resumed her movie career mostly in secondary character parts, up to the time of her death (December 12, 1942). She never had a finer opportunity of screen than she did in THE SILVER CORD, and never did again. With a small list of actors credited in the cast, seen in a brief role is Gustav Von Seyffertitz, the same nasty villain who terrorized Mary Pickford in the silent classic, SPARROWS (United Artists, 1926). Overall, highly recommended. (***1/2)

I really felt the movie was ahead of its time. The one potential daughter-in-law was such a strong, career oriented woman. She knew what she wanted and was diplomatic but firm with the over-bearing mother-in-law to be. The mother's role was played extremely well (you just loved to hate her). Her need to control her son's lives was neurotically evil. If you've ever been in a relationship where you've been judged and found lacking (and everybody involved knew it) this may hit too close to home. It's been years since I saw this movie and I remember thinking that this plot and dialog would work in a 50's or 60's movie. It is difficult to watch because of the mother and sons' dynamic but I would love to watch it again. I keep hoping to find it on one of the old movie channels but so far no luck. Attempts to buy it were also futile (I don't believe it's on tape or DVD).