Órfãos do Divórcio

Here are the quickest 75 minutes of your life. A delightful pre-code cocktail recipe. Take three couples (add gin and tonic), their several divorces and the seven children/stepchildren of their intermarriages and blend thoroughly, and you have a mixture a too-young-to-believe Frederic March will try to straighten out.

Whew! That said, let me straighten out a possibly intentional preconception. These sophisticated couples, with an early flirting reference, seem to be playing to the naughty implication of the title. You'll comprehend the title once you've met the kids, because they are the heart of this film. Now a cast including Frederic March, Lilyan Tashman, Kay Francis and Seena Owens giving great performances can't be upstaged, right? Well this batch is the best I've seen. They steal every scene and are given lines which mirror just what you're thinking. And they deliver them like bullets. It's timed like some successful stage play where the comedy has been closely honed in front of an audience. March is doing his job just keeping a straight face!

It all works thanks to a wide open Mary Brian as the oldest (17) of the kids. Her full throttle approach to the role locks all the elements together. She has to work vigorously to keep stability in the kids custodial situation. Indeed, spying on her charges, she discovers them playing Divorce Court.

Director Lothar Mendes loaded the film with brilliant touches. Mary Brian as Judy has a full, puffy coiffure while the other females have close, short hairstyles. The eternally effeminate William Austin's on hand to be Kay Francis' "big, strong (rich) man". Mitzi Green teaches him what its like to be a father, making him her pony. The children interface with adults on adult terms, playing them like violins. I won't disclose some delicious scenes as they should be yours to discover. Have fun!

The other three reviews thus far seem to be addressing a different film altogether. The pacing here is funereal, the actors don't act their lines, they speak them, slowly and haltingly, as if we were at a first rehearsal of a high school drama performance. There is no talent to speak of, even Kay Francis is subdued. Fredric March is embarrassingly bad. Some of the facial expressions are truly laughable.

I have not yet read the novel, THE CHILDREN, from which this is derived, but I doubt it was a comedy. Irresponsible playboy/girl rich adults behaving like children and leaving a wake of seven stepchildren in their entourage, constantly being torn apart, as the adults switch marriage partners, yearning to remain together as siblings - hardly stuff of comedy - perhaps it was a further indication of the distorted times during which the film was made that it was adapted in this fashion.

This was remade in France in 1990 under its original title, but the film is not available on DVD for comparison.

A real chore to sit through and a colossal bore to boot.

I am eager to see all of Fredric March's pre-1940 films. Some of them are brilliant. Others are just OK, but his performance is always top-notch, regardless of the material. Or so I thought. If this were the first time someone was seeing March, they would never know he was a professional actor.

Mary Brian plays March's college friend's daughter. A series of marriages and divorces has left a large collection of children in her primary care. She is only seventeen. After a whacky meeting on the beach, the young girl and the kids are all smitten with March. However, March's character is engaged to a widow he has allegedly loved for a long time. You see where this is going. The age difference is supposed to seem acceptable, though March initially protests, and viewers are left to see which woman he finally chooses to marry.

If you want to see young Mitzi Green, with her loud mouth, or young Anita Louise, you might enjoy this film. Lilyan Tashman always turned in a good performance when playing a villain. The delightful Kay Francis is less than enjoyable here though. Mary Brian is probably the best performer in the cast, but I didn't like her character. March's devotion to the children seems unnatural, and I couldn't see him as a believable husband to either woman. I came in wanting to like this film, but after viewing it, I don't understand the good reviews it got at the time.

Big fan of the early talking pictures because of their historical purpose in the history of film. I love the shots of the beach and the clothes these people wear everyday as well as the furniture of the time. This film however besides its historical importance quiet dull to my eyes. What is intresting is the actors and actress of the early days of the talking picture and how their careers formed later on in the 30s-40s Mary Brian who plays judy stared in films with cary grant and james cagney. Lilyan Tashman is very intresting she starred in 3 lost pictures such as "no, no nanette" (1930), "gold diggers of broadway" (1929). And "the cat creeps" (1930). She was popular in her day and she passed in 1934. Fredric March would go on the be in "the best years of our lives" (1946). A young Anita Louise appears in the film and was famous to play along side Shirley temple. And even appeared in another sought after lost film called "4 Devils" (1928).

... birth control, not so much. And thus the dilemma of this film. At a seaside resort Martin Boyne (Fredric March) meets 17 year old Judith Wheater (Mary Brian) as she is trying to corral her younger brothers and sisters. There are at least half a dozen of them, I had trouble counting them all. It turns out Martin knows the parents - Cliff and Joyce Wheater (Huntley Gorden and Lilyan Tashman). But he didn't know that they had previously divorced, remarried others, then divorced and remarried again, and in each union there were children. And now the Wheaters are arguing again and the many Wheater kids do not want to be separated when the Wheater parents inevitably divorce.

Martin agrees to get all of the parties together - and that includes all of the ex-spouses, their spouses, and future Wheater spouses, and try to figure out a way for all of the kids to stay together. But it is futile as they start sniping at each other and eventually lose interest in the entire conversation as they have a polo match to go to.

The complicating factor is that Judith is falling in love with the older Martin, but Martin has a dragon lady of a fiancee to which he is devoted. On Judith's side, though, is the fact that she and Martin are the only real adults in the room.

It appears Judith has spent her entire life caring for her younger siblings and has not even been properly schooled, because early on she writes Martin a note and misspells common words badly. The film makes a point of showing you this, so it must have meant something.

This was a unique concept for a film - I don't think I've seen anything quite like it before - parents of means who act like children having lots of actual children and emotionally neglecting all of them. But it does suffer from some common early talkie problems such as scenes that go on too long and the necessity of having a rather static camera. What is great about it is seeing the furnishings, clothing, and manners of the well to do at the end of the roaring 20s. Also, even a little of Kay Francis and Lilyan Tashman go a long way.