Friends and Lovers

A bit of a twist on the average love triangle story, this early American film adds in something to think about in terms of coincidences in life. Everything that happens, with characters meeting who have all been seduced by the same woman, is so reliant on convenient coincidences that it would almost be contrived, if it were not for the fact that the film is indeed about stories that sound contrived but are real, a point made clear by the discussions at the dinner table scene. The film is very talky, without much room set aside for establishing atmosphere, but the dinner scene is so intense that the lack of atmosphere elsewhere is almost forgotten, and there are a few stylish bits, such as a door opening slowly so that it cannot be seen who is opening it.

In a supporting role, Erich von Stroheim plays a central European porcelain collector who manipulates his wife into seducing British gentlemen so that he can later blackmail them. It seems a shame that he was not given a bigger part, because he has by far the most interesting character and he gives off the liveliest performance in the film, speaking slowly to toy with Adolphe Menjou, and moving about the place in such a cool, leisurely manner that one is constantly hanging on edge. Unbeknown to him, his plans go awry when it turns out that two of the men that his wife has seduced are old friends; this coincidence is obvious and too slowly played out, but the resulting initial resentment followed by acceptance that occurs between the two men is interesting to track.

The film looks like it may have been intended to be a satire, and the coincidences are sort of funny, however there's nothing comical as such about the film other than von Stroheim's appropriately domineering performance and the way that he talks - how he says "passion" with his accent comes out rather humorously. The film does not quite work as a satire, presenting more so things to think about then any definite message, and the transformations and motivations of Lili Damita's seductress character are never clear and seem a bit awkward. Damita herself is not exactly excellent in her role - she is visually striking, but never as charismatic as a femme fatale should be. The rest of the cast are generally fine, as is the overall production. It just falls a little short of being anything really special.

This is the sort of film that got RKO Radio studios into financial trouble. It has a great cast: Damita, von Stroheim, Menjou, Olivier. The plot is predictable, and the story threadbare. I doubt if there were many more people in the 1930s who were turned on by this kind of melodrama as there are now.

A porcelain collector uses his younger wife to ensnare rich army officers, so that he can blackmail them. Two officers, serving in the British army in India, find out that they are both in love with this same woman. That is the plot in a nutshell. The saving feature of this film it to witness some pretty good acting performances. Apart from Hugh Herbert, whose Scottish accent slips like a postman in the snow and sounds about as authentic as the MacFarterchops tartan, the rest of the cast turn in some pretty good performances. Von Stroheim's performance is weird; but then again he is playing a weirdo. Menjou turns in a competent performance - as he always does. Olivier is subtle: you have to watch him carefully to fully appreciate what he does. The same can be said for Damita. Yes, it's great to have a sophisticated leading lady who doesn't mind getting her kit off; but watch her performance next to Olivier in the dining table scene. Further down the cast, the pair who play the general and his sister turn in good performances, too.

The performances of the cast rescue this film, which is of its time. It is watchable.

Cardboard sets on the back of the studio lot, a shocking opening scene between Menjou and Damita, terrible dialogue, poor structure, a plot i didn't care to follow and a cliche concept (love triangle). Menjou (from Paths of Glory) is fairly dreary, his camp cliche conversations with Olivier seemed to stretch the movie out interminably, quite a feat for a movie barely an hour long, and the woman is beautiful, but not really an actress. In truth, there is only one element which rescues this movie (and even then only the scenes this particular gentleman is in), and that is, or he is, Erich von Stroheim.

Nobody made being evil look as much fun as Stroheim. Von plays the scheming evil husband of Damita who blackmails her lover, Menjou, to do what i can't remember (even though i just watched it - which perhaps says something about the significance of the plot). Von gives this material the seriousness it deserves (not much), which ironically results in his saving the picture. He plays the husband as a broad comedy character, replete with evil laughter. I noticed him almost choking on some of the dialogue its so ridiculous, but there was also some really great fun dialogue in his scenes, which i can't really remember either, except this:

Menjou: Blackmail! Stroheim: Blackmail is such an... ugly word...

Stroheim (explaining why he's just read a love letter addressed to his wife from another man): I am a romantic. I enjoy reading other people's letters, doesn't everybody?

After the first scene when Menjou and Damita are alone together you've totally written the whole movie off as being able to be taken seriously - but when Von Stroheim appears as the malicious husband, which he plays with flair and humour, all of a sudden you feel this wonderfully trashy facade of a film is actually quite fun. And it is - mainly only Von's scenes and those that comedian Hugh Herbert, playing Menjou's servant, are in.

Little-known actress Lili Damita plays the woman every man in this picture is fighting over - and for once, i can understand all the fuss! She's absolutely radiant, really sexy. One of the most beautiful people i've ever seen. She has a racy shower scene where the side of her breast can be seen (i'm not kidding) and a scene where she's getting dressed. These are the luxuries afforded by a pre-code film (1930-1934 i think).

The down side to movies from this period is the cardboard-sets, talk-instead-of-cinema nature of them. Aside from the wonderful films of Lubitsch and anything Carole Lombard is in (and Riefenstahl's The Blue Light, perhaps), films from this period are quite poor. They've thrown away everything that was good about silent pictures, and haven't yet learned how to incorporate dialogue well, so what we have are filmed and edited stage plays.

Watch out for Lawrence Olivier at 24, in his third ever film, who's so slender, high-voiced and camp he's almost feline. This is not a significant film for anyone involved - the only reason it is notable is probably Olivier (if he's your cup of tea), being one of his first movies and probably his first major role.

This film gets off to a great, weird, very racy Pre-Code start. In the first couple of minutes we are introduced to an adulterous young wife (Lili Damita) and her slimy, sadistic, blackmailing husband (Erich von Stroheim). You can't take your eyes off von Stroheim; his over-the-top performance is not exactly what you'd call great acting, but it gives the film its only real juice. Once he's—literally—out of the picture, we're left with a static, conventional, and uncompelling love triangle.

Others have already commented on Miss Damita's strengths (beauty and sex appeal) and weaknesses (no real acting ability), which I believe is a fair assessment of her contributions. Despite her physical charms, I found it difficult to believe that men would be driven to extremes of jealousy over her... which seriously undermines the main premise of the story. And when she chooses Adolphe Menjou over Laurence Olivier... well, that's REALLY straining the bounds of credibility!

Speaking of hard to believe, there's Hugh Herbert, making a pathetically inept attempt at a Scottish accent. (He went on to become a repeat offender, once again inflicting his bogus burr as Detective John McTavish in 1934's EASY TO LOVE). Herbert's recurring "business" about the women in his life gets very tiresome very quickly.

The biggest liability in the film is Adolphe Menjou, woefully miscast as the man who wins Damita's heart over all her other lovers, including a very young, very handsome Laurence Olivier. Scrawny, pinch-faced Menjou was over forty at the time (he looks even older); ludicrously, he is repeatedly referred to by various characters as "young man." It's obvious that the part was written for a younger, sexier actor. Had they cast someone more appropriate, the story would have had a lot more sizzle.

Though I rated the film only four stars, I'd recommend it to die-hard film buffs. Besides von Stroheim's memorable characterization, it's got a nuanced performance by the young Olivier, the lovely Miss Damita (and her equally lovely wardrobe), and some appealingly quirky scenes and performances. It's not great art, but it's good entertainment.

Lili Damita plays an exotic temptress married to vicious Von Stroheim, who uses her to lure rich men, in order to blackmail them later...He's sort of a higher class pimp, 'cos the guy sort of sells her wife's favors.

Adolphe Menjou and Larry Olivier are two of these men, who happen to be friends. Man-of-the-world Menjou does very well with his role of Captain Richards and a very young and dashing Laurence Olivier, is good as well as the more "naive" guy.

Von Stroheim's short moments on the screen are excellent, because he can portray at very close perfection, that sort of middle european aristocratic decadence. Kudos too, for Hugh Herbert's sympathetic performance as Menjou's valet.

Miss Damita (later to be Mrs. Errol Flynn) has poise but lacks acting talent, but is anyway alluring as the tempting lady.

If you like pre-codes, watch it.