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.

The FRIENDS AND LOVERS of a duplicitous female nearly have their lives destroyed by her wicked ways.

This well-acted piece of fluff makes no attempt at serious entertainment but manages to engage the viewer nonetheless, mainly because of its unique cast.

Lily Damita plays the sultry vamp who has no difficulty in enticing every man she meets. She is the female star of the picture, but her character is completely detestable. It says nothing positive about the moral discernment or intelligence level of the lead male players in the film that they are so completely seduced, for a time.

Adolphe Menjou and Laurence Olivier play the two British officers, firm friends, who both fall into Damita's web. Making no pretense at behaving British, Menjou plays the debonair captain who must decide between carnality & comradeship. Olivier, who looks astonishingly young (he turned 24 in 1931) is bright & energetic, projecting shadows of the future Lord Olivier as he advises Menjou as to the proper cut of tailored lapels.

Whimsical Hugh Herbert puts his gentle humor to good use as Menjou's Scots valet. Acting as a sort of Greek Chorus to the proceedings around him, he easily steals most of his scenes. Erich von Stroheim, that Teutonic master of menace, dominates the screen with a cunning portrayal of Damita's vile husband. Like an uncoiled snake ready to strike, von Stroheim slithers about the screen, alert to deliver the maximum discomfort to his victims. As always, he is a joy to watch. Alas, that his role is so brief.

Frederick Kerr as a boisterous old general, and Blanche Frederici as his straitlaced titled sister provide a few moments of sparkle at the end of the film.

The action during the scenes set in India takes place entirely within the walls of a rather dull fort. The Studio, Radio Pictures, apparently were unwilling to spend an extra dime on ambiance.

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.

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.

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.