Evelyn Prentice

Decent drama from MGM and director William K. Howard that marked the third teaming of Myrna Loy and William Powell. Powell is John Prentice, a successful workaholic defense attorney who provides well for his wife Evelyn (Loy) and young daughter Dorothy (Cora Sue Collins), but he's never home to share it with them. When Evelyn thinks that John is having an affair, she flirts with having one of her own with charming cad Lawrence (Harvey Stephens). This leads to even more trouble and heartache. Also featuring Una Merkel as Loy's best friend and Rosalind Russell in her film debut.

Loy is very good in this as the emotionally conflicted Evelyn who gets in over her head. Powell underplays the big finale courtroom scenes well. Russell is okay as a client of Powell's who's a little too grateful for his services. Her role could have been expanded, though. The presence of Merkel is always a plus in my book. Of the 3 films with Loy/Powell in 1934, the others being Manhattan Melodrama and The Thin Man, this is the least impressive, but it's still worth a look.

Evelyn Prentice (Myrna Loy) is the neglected wife of a prominent lawyer (William Powell) who briefly takes up with his beautiful client (Rosalind Russell). When Evelyn finds out, she does her own dallying with a conniving poet and playwright (Harvey Stephens) who has a jealous girlfriend (Isabel Jewell). Evelyn's ditsy friend and house guest (Una Merkel) acts as confidant when the dalliance turns disastrous and Evelyn finds herself involved in blackmail and murder. Now, her marriage and the future happiness of her little daughter (Cora Sue Collins) are in jeopardy.

This courtroom mystery could have stood fewer melodramatic contrivances, especially toward the end, but the dialogue and characterizations are strong. Far stronger, however, are the remarkable performances from everyone involved. Myrna Loy's quiet desperation is utterly convincing. Powell, good throughout, is especially deft after discovering a stunning secret during the climactic courtroom trial: without a trace of ham, he genuinely looks as if he is about to keel over from shock, as he is forced to go on. Isabel Jewell, eschewing all phony theatrics, is remarkably good during her testimony at the end. Cora Sue is charming as the little girl. These performances distract us from the occasional creaks and groans in the plot and make the movie worth seeing.

William Powell and Myrna Loy made fourteen films together; "Evelyn Prentice" was their third, released in 1934.

Powell plays John Prentice, a busy attorney who isn't spending enough time with his wife Evelyn (Loy) and child; he drifts into an affair with a needy client (Rosalind Russell) whom he has successfully defended in a manslaughter case.

Evelyn is being wooed by a so-called poet (Harvey Stephens) who in truth has blackmail in mind. When he presents Evelyn with incriminating letters (though she hasn't had an affair with him, the letters are suggestive), a struggle ensues, and he winds up dead. His girlfriend (Isabel Jewell) is accused.

The acting helps what has now become a familiar story. Myrna Loy is absolutely gorgeous and sympathetic as a lonely wife resisting the attentions of another man; and you know that Powell, despite his philandering, cares for her deeply. Una Merkel is delightful as Evelyn's friend.

Powell and Loy worked so easily together and by all accounts enjoyed their collaborations, keeping up their friendship even after Powell retired. They're always a joy to watch.

"Evelyn Prentice" starred William Powell & Myrna Loy, who were inbetween working on the first & second movies in "The Thin Man" series. There are similarities between their roles in this movie & their roles in that series. In both cases, they're debonair rich folks with fancy clothes & a beautiful home. In both cases, Powell plays a character who likes to drink (more so in "The Thin Man") & is involved with solving a murder mystery. But "The Thin Man" series is more light-hearted, with more flippant, snappier dialog, & is generally more enjoyable than "Evelyn Prentice." Astra the Dog is missed, & replaced by the couple's young daughter. But this is a good movie, & has a more surprising plot twist than any entry in "The Thin Man" series. The plot here has more typical pre-code elements than the later "Thin Man" entries, which I won't mention here because I don't want to give away the storyline. Una Merkel is good as Loy's wisecracking friend. Isabel Jewell is very convincing in her role (I didn't think so at first, but as I began to watch her more closely, I started to think that she's a really good actress). I rate it 8/10.

Lenore Coffee was a prolific screenwriter whose specialty was the "women's picture," and she writes a honey of one here. William Powell is a too-busy lawyer who's dallying with client Rosalind Russell and who neglects his family (and boy, can I identify with that), to the point where good wife Loy is momentarily distracted by a lounge-lizard poet with a busy black book. Disastrous complications ensue. William Howard's direction is workmanlike at best, but Coffee keeps the fireworks popping. She balances things expertly between smart, sassy dialog and courtroom melodramatics, and she can write persuasively for tart-tongued best friends (a soignee Una Merkel), wide-eyed daughters (a relatively unannoying Cora Sue Collins), wronged women (a heavy-lidded Isabel Jewell), and a supporting cast of New York sophisticates. The windup is a little fast and the idyllic fadeout not entirely convincing, but in these days of overheated trials and yellow Murdoch journalism, it's not entirely implausible, either. A very fast and smart comedy-drama, and I didn't mind the absence of the Nick and Nora personas, or Asta, one bit.