-But the Flesh Is Weak

I'm a big fan of Robert Montgomery, whom I think paired best with Norma Shearer. In his early dashing leading man roles, he's like a princely powder puff, smelling of lavender. In this movie, "But the Flesh Is Weak," he's a sticking rose. Like a bee after honey, he pesters Nora Gregor in frame after frame. The movie became too sickly sweet for me midway, and I was wishing for more scenes with Montgomery and Sir C. Aubrey Smith, who plays his gambling father, surprisingly far more dashing than Montgomery in this film. My guess is that another viewing might be more pleasant. Nora Gregor and Heather Thatcher deliver solid performances and are dressed beautifully. Nils Asther plays an even bigger powder puff in this movie, but he's a delight.

This features all the contemptible cliches that can mar a romantic comedy: 1) Love at first sight. At the mere sight of a pretty girl, the hero drops the more interesting one he has and immediately proposes marriage. 2) Unwanted attentions. William Haines could learn some tricks from this character, whose boorish insistence on forcing himself on the gal, even in her bedroom, brings her to hysterical tears. 3) Double standard. Both of them are offering themselves to the opposite sex for money, but, though she seems forced to it ("remember, it's harder for a woman") and he seems to freely choose it, she gets his wrath when she decides to marry Horton (before she's even acknowledged Montgomery as a possible romantic partner), and then she somehow gets his wrath again when HE decides to marry someone else for money (AFTER he spent the night with her and promised to marry her). 4) Battling lovers make a good marriage. Though they've known each other for only a few days, one or both has been mad at the other the whole time. Why should they be any happier later?

All that said, this still has its worthwhile moments. C. Aubrey Smith shines in a significant role as "Senior," Montgomery's dad. The father-and-son scenes are excellent. Asther makes a terrific gigolo, and Kerr plays his classic, amiable dodderer, though not quite at top form. Thatcher is fine as the girl who's not in the running, and the scene between her and Montgomery when he tells her how things are is excellently written and played. As to Nora Gregor, her English is not good, and, intentionally or not, her playing emphasizes the negative aspects of the odious cliches. It remained for Renoir to get a measured performance from her in RULES OF THE GAME.

This film is a fine example, I believe, of the many, many, many mediocre films in which the so-called "bright stars" of the past participated in.

Not unlike today, the VAST majority of Classic Hollywood's film productions were very dull and uninspired affairs; the comedies were often unfunny and the dramas were undramatic. Today, film festivals, universities and cable TV (TCM & AMC) generally display the best of the best from the Golden Years, so today's viewers becomes bias towards imagining that most of Classic Hollywood's films were indeed "classic." That, of course, is far from the truth. "But the Flesh is Weak" is a fine case in point.

It is a slightly enjoyable bit of fluff. Montgomery is well cast, but has little to do and a weak script with which to do it. C. Aubrey Smith is, well, C. Aubrey Smith--good as ever, but no surprises. Nora Gregor tries hard but falls flat. I tried to like her character, but in the end I couldn't see why most men would pant after this girl. Strangely, Heather Thatcher has a much stronger and interesting character, and she nails her "Lady Joan" nicely. When Thatcher was on the screen, I enjoyed the film much more. At times, Thatcher and Ann Harding could be confused as sisters.

So, sit back for a scant 77 minutes (they could've knocked 10 minutes off the running time), and see what a mediocre film from the pre-Code era with a big star was like. Today we pay hundreds of millions of dollars for so much mediocre nonsense on our movie screens, so why not check out this minor film from 1932.

Again, it isn't bad, but it will not receive many accolades.

Here's a pre-code romantic comedy that today seems extremely politically incorrect in its depiction of male/female relations. It's derived from a play by famous U.K. matinée idol Ivor Novello, and he contributed both the screenplay and "continuity" to the film. I would think that female audiences today will find certain scenes and undercurrents offensive in their depiction of the male as the dominate force in a relationship. Anyone today viewing But the Flesh Is Weak would wonder as to the mentality of Novello, and his views on the female gender. I would think that his "hit-her-over-the-head-and-drag-her-away" clichés should had become outmoded even in the 1930's.

Anyway, Novello did rise to the occasion of providing an interesting entertainment, penning some nice dialog and creating some amusing characters. Film centers on young Robert Montgomery and his dad, C. Aubrey Smith, who are two sophisticated men-about-town in London. They are both seeking some rich noblewoman to provide their next supper, and they make the rounds by blending in with upper class society. After charming one difficult and eccentric lady play by Heather Thatcher, Montgomery's character quickly falls in "love at first sight" with a widowed socialite he meets the same evening at Thatcher's house party. Complications ensue, not aided by a catastrophic gambling debt run up by so-called "Senior," C. Aubrey Smith.

I have very high regard for Robert Montgomery, in his ability to be so affable, charming and easygoing. He's one of the great screen actors, and I never miss an opportunity to see one of his films. Just because he's so easygoing and charming usually is what makes him so effective when he become volatile, or even angry. He has a nice showcase here, even if the script seems now very sexist, almost worthy of disregard in that aspect of the plotting, since Novello's writing has Montgomery really and actually forcing himself on the leading lady. He not only refuses to take "no" as an answer, he even slaps her and kicks her out of a moving vehicle! Mongomery's work here shouldn't be dismissed though, and both him and great character actor C. Aubrey Smith make the movie enjoyable. There's a scene early on with them in a small bathroom that's a two-shot containing both actors. Smith goes through some elaborate business in clipping his mustache, but it's all for naught, since right next to him is Robert Montgomery stripping out of his clothes to take a bath. Poor C. Aubrey would have to have been well aware that all eyes would be on Montgomery.

One weak element in the movie is leading lady Nora Gregor, a heavily-accented European import who appears to be out of her depth here. She isn't very pretty or charming enough to cause Montgomery to fall instantly head-over-heels in love with her, and she accomplishes very little to make her character memorable.

Much better is the support from Heather Thatcher, as a monocle-wearing socialite with some eccentric habits, a good heart and designs on Robert Montgomery. She's offbeat and very likable, with her scenes being such highlights in the movie, that it's disappointing the offhand way the film dismisses her character. Nice comic relief comes supplied by wonderful Edward Everett Horton as a rival suitor of Nora Gregor and there's also silent film star Nils Asther who's perfect as a decadent and lascivious European prince.

Pre-code fans will surely get a kick out of But the "Flesh Is Weak." *** out of *****

I saw in this film a very touching familial relationship, between a father and his son. The son nearly sacrificed himself to save his father. So many commenters have absorbed the feminist view that abhors an aggressive male pursuing a female. Granted there are limits to how aggressive a man can be before he's reported to police for stalking. However, I think in this movie, the aggression was comically exaggerated and not meant to be taken seriously. It's just a movie (from 1932!) and the characters don't always need to be role models of correct behavior.