A Lost Lady

A very good cast is well directed, but this film is practically hobbled by a pedantic, bowlderized script. The story concerns Stanwyck as a society dame whose fiance is shot by an angry husband on the eve of their wedding. Stanwyck is sent to the country to recover her spirits, and there attempts suicide (although the film actually shows her SLIPPING off the edge of the cliff) and is rescued by a gentlemanly older man (Morgan), whom she subsequently marries. Her affair with Cortez (who often seems to fill this undesirable role) consumes much of the rest of the film. Unconvincing conclusion adds to the mire that this film got stuck in.

While not being totally enamoured by the film's title (called 'Courageous' in my country, 'The Lost Lady' known elsewhere would have been far more suitable, and a title that doesn't really gel properly with the plot summary), the subject intrigued enough. Also have liked what has been seen of Alfred E Green's films and Barbara Stanwyck was to me and many others one of the best actresses of the golden age and gave many great performances. It was interesting to see Frank Morgan in an against type role.

A large part of me however was rather disappointed in 'Courageous'. Considering Stanwyck and Morgan's calibre, it should have been a much better film. Is that saying that 'Courageous' is bad? Of course not. It is very well made and acted in particular and starts off great. It is just a shame that it gets increasingly silly and melodramatic too early and ends underwhelmingly, am aware that these are potential traps fallen into a good deal in films at that time but still.

'Courageous' has a lot of great things, starting with the great acting and some of the cast playing against type. This is not one of Stanwyck's tough roles and requires her to be a little more subtle and sensitive, her performance here is very sincere and controlled, nothing feeling overdone or false. Morgan's role here is a dramatic one and a change from his usual eccentric ones, he understates beautifully and has affecting chemistry with Stanwyck (particularly towards the end). Am more familiar with Ricardo Cortez in villainous roles, so it was again interesting to see an in comparison softer side and he manages to give an as sympathetic as he can edge to a character who isn't that really. Rafaela Ottiano does a nice job too in her role.

It as a film is very well made. Beautifully and stylishly shot, atmospherically lit in a sometimes eerie way and with sumptuous sets and costuming. The music doesn't feel intrusive or overused and adds to and not over-emphasises the atmosphere. Green's direction has a lot of striking parts visually and he makes the first half of the film engaging. As indicated, 'Courageous' starts off well.

So it was unfortunate that the rest of the film wasn't as good. The melodrama gets into overload in the middle and it is very overwrought melodrama at that. Especially in the soap operatic Stanwyck and Cortez scenes where one still can taste the increasingly bitter suds after watching, not because of them but the writing. The writing is very sudsy and sometimes quite silly in their scenes and the brief attempts at levity are not amusing or needed, Willie Fung just doesn't fit and more at odds with everything else.

And then there is the ending. Too abrupt and too pat (almost like forgetting that the middle act didn't happen), not to mention subdued. That it was subdued though is admittedly preferable to the film getting more increasingly melodramatic than it already was, but it just felt anaemic. The waste of Lyle Talbot in a prominent role in the source material criminally reduced to practically nothing is unforgivable, as a result he is completely forgettable.

Summarising, watchable definitely but for a crew of this calibre this could have been a lot better. 5/10

Barbara Stanwyck, the greatest actress never to have won an Oscar, is here unusually young and glamorous in a succession of ravishing Orry-Kelly creations as she is torn between staying faithful to nice but dull (although fabulously wealthy) husband Frank Morgan and dashing young blades Lyle Talbot and Ricardo Cortez.

It's unusual to see Ms Stanwyck adorning a Women's Picture at this stage in her career; slickly packaged in a grade A production by Warner Bros. rather as they would soon showcase Bette Davis. The original 1923 Willa Cather novel had been filmed with Irene Rich ten years earlier (sadly now lost), and after seeing this glossy travesty Ms Cather never allowed her work to be filmed again during her lifetime.

... and by that I mean this film is portraying PTSD 56 years before that is even a recognized phenomenon. In the case of veterans they would call it "shell shock", in the case of crime victims or witnesses to some other horrible incident they would just call it shock, and it really is realistically portrayed by Stanwyck, even though she doesn't really know that is what she is portraying.

Two days before her marriage, wealthy Marian (Barbara Stanwyck) is talking wedding talk to her fiancé, John Ormsby (Henry Kolker), and you can tell she is very much in love with the guy. They descend a staircase at a party and are met by a man. The man claims that Ormsby has been having an affair with his wife and produces the cigarette case Ormsby gave his wife as proof. It has his name on it and to add insult to injury it was a gift from Marian to Ormsby. The jealous husband shoots Ormsby dead right there on the staircase in front of Marian. Marian is in no danger because escape is not on the husband's mind, only murdering his wife's lover, and he has accomplished that.

The papers are full of the scandal, reporters hound Marian's front door, and fortunately she has a house of loyal servants to keep the interlopers out. The worst thing is Marian can't feel anything - she doesn't feel love, hate, hope, just a kind of nothingness. It is suggested that she spend some time in the Canadian Rockies. It is summer and she has always loved the place, however her mood does not improve. She still feels nothing.

On a long walk she falls down a hill and injures herself. She is found by Forrester (Frank Morgan), who is also on a walk. He carries her back to her house, comes to visit her, and at first when she realizes he feels a romantic attraction she gives him the brush off. But he is persistent and soon they are fast friends. He wants to marry her and she confesses she feels no love for him, but also tells him that she feels nothing for anybody. It comes time for Forrester to return to civilization and she realizes she does not want to lose him. He agrees to the marriage and says for love they will substitute honesty, and that will be enough for him.

They return to Chicago, and at first her PTSD keeps her from wanting to be around large numbers of people, but Forrester is gentle with her and soon she is able to take on the task of being hostess in their home. He builds a house for her in the country, and she is content, but still not in love. She busies herself with gardening in her new home, but with a beautiful young wife who is not in love, and a husband who is older and has to be away for weeks at a time sometimes, you know something bad is just going to drop from the sky in all of this. And it literally does just that - Ricardo Cortez, portraying the president of an aerospace corporation, crash lands during a test drive of one of his new designs on her garden and introduces himself by kissing her passionately. Cortez' character KNOWS she is married, is a guest at a party thrown by her husband, and yet the villain still pursues her. How will all of this work out? Watch and find out.

Everybody plays their part marvelously here. I haven't mentioned Frank Morgan, but he really was just more than the bumbling often ne'er do well that he often played over at MGM and this Warner's B film really does show off his talents. Seeing Rafaela Ottiano play Marian's caring servant seemed rather weird when I mainly remember her from The Devil Doll as the mad scientist, missing one leg and one arm and consumed with shrinking people...but I digress.

What is especially weird is that Marian has one servant that looks the part - somewhat stuffy - but whenever he opens his mouth he sounds like he should be in a gangster film. I'm not sure where that was coming from.

At any rate, I consider this one much better than its reputation, even if it was one of Warner's B efforts. Recommended.

No movie with the great Barbara Stanwyck is completely without interest, but there is little else to recommend this misbegotten movie. Willa Cather was so horrified at what had been done to her novel that she refused to sell any of her other books to the movies, and one can see why. The story, characterisations, time span, plot, and tone have all been changed, for the worse, in a trite Hollywood way. For example, the house in the book, which is a nice-size house whose distinction is the beautiful scenery around it, is here a huge mansion with the standard Thirties-mansion double-height curving staircase. Complex relationships in the novel are here so oversimplified as to be almost meaningless. The movie adheres to a post-Code morality, also very simple, good vs. bad, where the book was much more subtle and complex.

In what I think is the only case of this I have seen, Stanwyck has a different hairstle in every scene, which changes her appearance greatly. It makes you feel that trivial details like these, at the expense of consistency, are what most concerned the film-maker (Alfred Green-- who?).