The Yellow Ticket

Another gem I have never heard of. I am also unfamiliar with the talents of Elissa Landi. I am glad to have become acquainted with both!

Landi plays a Jewish woman living in oppressed Russia in 1913. She wants to travel to be with her father who is dying in a prison. But all Jews are being watched and aren't allowed passports to travel. Landi finds out that there is a thing called a "yellow ticket" that is given to prostitutes in order for them to travel freely. So she registers as one, not thinking about any consequences this may have. She gets to the prison too late. Her father has died.

But now that she is "registered" as a prostitute, she can't find work. Her family is informed and they shun her. She can't stay and live where she is, and she can't go home.

Even though she remains "a good girl", all the officers and cads know she has a yellow ticket and assume what she is and expect her to "put out". Barrymore plays a sleazy Czar who makes her life miserable. Finally, Olivier comes along and tries to save her. He is a reporter from London looking for stories on the "real" Russia. She provides lots of information and they end up falling for each other.

Barrymore, however, is out to get her. He wants the bad but true stories in the world's papers about Russia to stop and he knows Landi is behind what Olivier is writing and publishing. He captures Landi and gives her a choice of ending the relationship and her aid to Olivier or be responsible for Olivier's death or give her self over to Barrymore for one disgusting night.

Landi does a great job as the victim being used and torn by society, politics, and the morals of the period. Great job and a very entertaining film.

Be classy and check it out!

It was probably just fate, but within the space of less than a year--Lionel Barrymore created two very vivid but quite different villains who functioned in pre-revolutionary Czarist Russia. In The Yellow Ticket (TYT) (1931), he plays a corrupt amoral nobleman who is also a powerful law enforcement official. And in Rasputin And The Empress (RATE) (1932), Barrymore assumes the role of Rasputin--the Mad Monk who actually manipulated himself into the Romanoff royal household and ended up becoming a historically significant person operating at the highest level of the Russian government.

TYT is a product of the Fox Studios, and is the lesser known of the two films. Other than featuring a strong menacing role for Barrymore as the personification of pure evil, TYT also starred lovely Elissa Landi as the young Jewish heroine who must assume the disguise of a prostitute to be able to move freely within Russia. TYT also co-stars a young Laurence Olivier in one of his earliest screen roles as an English journalist and Landi's love interest. Directed by Raoul Walsh, this pre-code effort is dominated by Barrymore as the unrelentingly nasty bureaucrat who physically covets Landi and is in a position to actually realize what he covets.

RATE was made at MGM in 1932, and directed by Richard Boleslawski. As is well known, it is the only film that featured the three Barrymores (Lionel, Ethel and John). It was also a pre-code movie, although that fact seems less noticable there than in TYT, with its scenes of partial nudity and blatant sexuality. In RATE, Lionel Barrymore's part is based on a real person. Therefore his many truly negative qualities are suggested by historical evidence, although a number of liberties were taken by MGM in the course of bringing this character to the screen.

How did it happen that Lionel Barrymore played these two dislikable Czarist-era Russian villains almost back to back? It really does seem to be mere coincidence--but it is nonetheless remarkable. While the Rasputin part is much better known and far more flamboyant, his unscrupulous Count In TYT has greater complexity and is more subtle. When Barrymore is stalking Landi almost like a feline predator in search of its prey, it is impossible not to be caught up in the terror inherent in this situation. Interestingly, when TYT earlier appeared as a play, the Count character was then portrayed on the stage by John Barrymore!

Neither of these two films would qualify as a true classic--although RATE is certainly famous for its Barrymore casting situation.. But given how Lionel Barrymore evolved into an actor playing many more benign characters as he aged in the late 1930s, it is certainly interesting to see him so successfully performing in these two rather repulsive roles at this stage of his career.

1931's "The Yellow Ticket" was adapted from a 1914 play set in 1913 Czarist Russia, with second billed Lionel Barrymore replacing younger brother John in the scenery chewing role of Baron Andreeff, persecuting the young Jewish beauty Marya Kalish (Elissa Landi), whose only means of travel is the Baron's dreaded 'yellow ticket,' branding this virginal schoolteacher a prostitute. 24 year old Laurence Olivier, in only his fourth feature (second in Hollywood), plays British newspaperman Julian Rolfe, who has spent two pleasant months in Russia, but now has his eyes opened to the degradations endured by Marya; his subsequent negative articles incur the wrath of the furious Baron. The luminous Elissa Landi would soon star in her best known vehicle, "The Sign of the Cross," and there are tiny parts for native Russians such as Mischa Auer and Michael Mark. Boris Karloff, just two films away from "Frankenstein," remains typecast as a lecherous drunken orderly, whose unwelcome ministrations get him arrested (his best lecherous drunk came 3 months earlier in "Five Star Final"). This was his third film working with Lionel Barrymore, co-starring in the 1926 silent "The Bells," and in 1929 directed by Lionel in "The Unholy Night."

Admittedly, my world history knowledge is lacking, so I was at a bit of a disadvantage watching "The Yellow Ticket." It took place in 1913 Russia and Jews were being persecuted by the Russian government. They were not allowed passports to travel unless you were a woman entertaining men.

Marya Kalish (Elissa Landi) had to get what was called a "yellow ticket" in order to travel to see her father in prison. The yellow ticket indicated that she was a prostitute even though she got her ticket by paying for it, not by becoming a prostitute. It was one more method of demeaning Russian Jews.

She was harassed and harangued throughout her movements throughout Russia. She caught the attention of Baron Igor Andreeff (Lionel Barrymore) the architect behind the yellow tickets. He wanted from her exactly what every other man she came across wanted.

She caught a break when she met a British reporter named Julian Rolfe (Laurence Olivier). He gave her a job as a secretary and kept her from having to be in the Russian streets. He only had positive things to write about Russia until Marya told him of the seedier, corrupt, and oppressive side of Russia.

"The Yellow Ticket" was eye opening and somewhat educational. If I had one complaint, it would be the romantic relationship between Marya and Julian.

I don't have a problem with two people falling in love, but I do think it detracted from the heavier message of the movie--that of Russian oppression of Jews. Marya went from a distressed, marginalized, and mistreated woman to a normal girl in love in short order. She was gaily spending her time with Julian helping him write his articles as though she hadn't a care in the world. It was as if the Jewish oppression ceased to exist, or simply wasn't as important. She was so happy in love I didn't even think she was still on Russian soil! I thought for sure that as merrily as she was working that the threat of her being locked up for helping Julian write disparaging articles didn't exist. When I saw that she was still in Russia I couldn't help but think, "How dumb or suicidal are you?" I figured she and Julian were smart enough to throw stones from a safe distance--like England.

TYT certainly had a good premise even if they veered from it with a love story. I guess in the 30's a man couldn't help a woman out of a jam unless he was in love with her.

Free on YouTube.

You would think Elissa Landi would be the biggest silent star, whom audiences forgave when talkies came around. Her expressions are overdone, her gestures hammy, and her delivery in need of coaching. Imagine my surprise to learn she only made a handful of silent pictures - she was a trained actress from the stage and even acted with Laurence Olivier. Her acting style really doesn't translate well on the silver screen, and she threatens to ruin The Yellow Ticket. Stick with it though; it has such an interesting story that you'll be engrossed despite the leading lady.

Speaking of Laurence Olivier, he plays her love interest in this Russian-set drama. And he's gorgeous! The first movie - unfortunately - I saw him in was A Little Romance, and I would have never guessed he was this handsome in his youth. Also, his acting style in this movie is completely different. He's so contemporary, casual, and confident. Life hadn't beaten him down yet, and even the way he moves is more carefree. Lionel Barrymore, the lecherous villain, is not different from usual. He has his mustache-twirling, cackling, eye-bulging, hands-on-suspenders (even when he's not wearing any), waist-hinging mannerisms as he always has, but it all works. He's a real baddie in this one, and it's very easy to root against him (as it should be in a melodrama).

You might not have heard of The Yellow Ticket, but try to find a copy. It takes place in pre-WWI Russia, when Jewish citizens were being arrested, prevented from getting passports, and abused. When Elissa's father is imprisoned, beaten, and prevented from getting medical attention, she's anxious to visit him. She's not allowed to travel, however, and soon learns there's only one way for a Jewish girl to get a passport: by securing a yellow ticket, a prostitution license. Hooked already, right? That's only the beginning.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. After Elissa finds out about the yellow ticket and she's on her way to see the madam, the camera shows a montage of prostitutes in a kaleidoscope effect for a couple of minutes, and that will make you sick. In other words, "Don't Look, Mom!"