Illicit

The plot of "Illicit" is similar to the plot of an early Bette Davis film called "Ex-Lady" made two years after this one. They should be similar - Edith Fitzgerald wrote both of them. "Ex-Lady" was based on an unproduced play, and "Illicit" actually was a play. Both concern women who don't want to get married and men who do. Anne (Stanwyck)(like Davis) is an unconventional free spirit afraid that marriage will destroy the romance she has with Dick (James Rennie). However, word gets around that the two have been weekending in Connecticut, and Dick's father (Claude Gillingwater) convinces her to agree to marry Dick. Thanks to an old girlfriend of Dick's and an old beau of Anne's, trouble brews in paradise once the rings are exchanged.

This is an early sound film, so the rhythm is off, and some of the sound has an echo. However, a few pauses that are a little too long don't really impede the fine acting. Stanwyck is wonderful and gives indication of the wonderful star she will become. She's funny, vivacious, and likable. Charles Butterworth plays a drunken friend very convincingly, and Claude Gillingwater is dignified yet warm as Dick's father. Rennie makes an attractive lover turned husband for Stanwyck. Joan Blondell has a small role as a friend.

The film is interesting because it's early Stanwyck, but also because of the independent woman angle which soon will fade from view with the ushering in of the code. Once the '40s hit, the independent woman became an uptight career woman wearing a tailored suit, her hair up, and sporting a stern attitude. Young, carefree non-virgins became a thing of the past. But these precode films are what helped mold the strong images of Katharine Hepburn, Bette Davis, and Barbara Stanwyck and are worth watching.

The naming of this film must have been just to attract Depression era audiences, because there is nothing really illicit about it. However, it is a very modern look at romance and marriage considering it was made in 1931. Barbara Stanwyck plays Anne Vincent, a modern woman who is afraid that her relationship with boyfriend Richard Ives will be changed by marriage. She bases her beliefs on watching her own parents and her friends. In her parents' case she says that she knows they loved each other, but divorced anyways, and she is sure that separation from one another is what killed them. However, social pressures prevail and the two do get married.

Anne's fears become realized as Richard seems to only be interested in going out when it involves other people, not just Anne. She sees him out with another woman one night when he is supposed to be working, and she decides what the two need is a trial separation from one another - to become individuals again. Throw Ricardo Cortez into the mix as someone who wants Anne's marriage to not work out, and you have the makings of an above average potboiler from the precode era.

This film is mainly interesting because of Stanwyck. Without her abilities this would be a pretty forgettable film. And those fashions! With all of the ermine and feathers, this film has Barbara Stanwyck venturing into Kay Francis territory. Also lending good support is Charles Butterworth as the seldom sober friend to the young couple, and the always wonderful Joan Blondell as Anne's close friend.

This movie creaks with age, but is memorable for being Barbara Stanwyck's first movie as a star. Miss Stanwyck gives an excellent performance, as always, but the supporting cast, particularly Charles Butterworth, steals the show as an amiable drunk whose bark is worse than his bite.

Prohibition; scorned women, that was the early 30's. This was before the "decency" rules came into effect. Avant garde is the only way to describe this. Dated, yes. But very descriptive of the times. Only Stanwyck could do this well. Her strength and sensitivity are evident in every frame. This is a history lesson of the times and traditions that existed way back when!

Barbara Stanwyck and James Rennie are ultra-modern 1930s lovers who shun conventional trappings such as marriage. She is afraid that marriage will kill the romance. Who has not had these fears? He is eternally patient, but his father maneuvers her into a commitment. Their marriage stumbles (whose hasn't) and the ex-girlfriend and ex-boyfriend enter the scene. Soon this thoroughly modern couple are acting like typical married folk and Barbara declares that the marriage has indeed killed the love. Stanwyck exhibits skills as an actress that will make her famous in better films later. Claude Gillingwater's portrayal of the father is excellent and serve as a good role model. Charles Butterworth (the faithful friend) was really quite a wit and succeeds in stealing a scene or two. I can overlook any technical flaws in the movie because I think that the central issues are still relevant today. Who has to compromise more in a marriage? The husband or the wife? Will each of the lovers do what is necessary to save the marriage when they know they have problems? All is not revealed until the final scene whose outcome is by no means certain. Good movie, not a great one, but good entertainment for a couple that talk to each other. I say watch it (if you can find it) and see if this pre-Code movie does not warrant your appreciation and was worth your time.