Three on a Match

The title is based on a saying that if three people share a match tragedy follows.

Story of three woman--Mary (Joan Blondell), Vivian (Ann Dvorak) and Ruth (Bette Davis). They are friends in grade school but go their own separate ways--Mary ends up in jail, Vivian marries a wealthy husband and Ruth becomes a stenographer. Ten years after school they meet and share a match--and tragedy follows. There's a LOT more to this but I won't spoil it by giving it away.

This moves VERY quickly--so fast that you don't have time to question some of the more silly aspects of the story. It's also pretty potent (this was made pre-Code) with some fairly graphic scenes toward the end. The acting is basically pretty good except for Davis. She's pretty terrible--but this was one of her first films. Even she dismissed this in later years. Blondell however is great and Dvorak is just perfect. She has some difficult scenes to play and pulls them off. Lyle Talbot is also very good (and very handsome) as Michael. There's also a pre-stardom Humphrey Bogart (looking surprisingly young) playing a vicious hood.

Fast, racy and loads of fun. Just don't think about it too much afterwards. I give it an 8.

THREE ON A MATCH turns out to be bad luck for a trio of young women meeting again years after their high school graduation.

This pre-Code Warner Bros. drama takes the old theme of a good girl gone bad, but deliberately shies away from platitudes or even any hope for redemption. The film's fallen woman lands in the gutter quite literally and the movie leaves her there, with the plot offering no loopholes for her possible regeneration.

Joan Blondell, Ann Dvorak & Bette Davis portray the three friends whose lives take them down very different paths. Blondell, as the bad girl turned actress, steals the film with her blonde brashness and good humor. Dvorak, as the rich girl with the husband & child, is so relentlessly unsatisfied and morose that she becomes quite a burden for the viewer to bear. Demure Davis, as the poor secretary, is given very little to do and gets to exhibit none of the fire which would characterize her performances in years to come.

The male members of the cast give good support to the ladies. Warren William, who so often played the villain, here is given the sympathetic role of Dvorak's harried husband; he gives his usual sophisticated performance. Lyle Talbot plays a society cad & coward, destroyed by gambling & booze. Although he has but one scene, Edward Arnold is most effective as a menacing crime boss - we first come upon him while he is calmly plucking hairs out of his nose! Humphrey Bogart & Allen Jenkins play his dangerous enforcers.

Movie mavens will spot in uncredited roles Grant Mitchell as the girls' high school principal, Clara Blandick as Blondell's distraught mother, Herman Bing as an exuberant school band leader and the glorious Glenda Farrell, not quite yet a star, as a reformatory inmate.

An amusing aspect of the film is how it shows the passage of time by incorporating popular tunes of the era, including "Smiles," "The Sheik of Araby," "The Prisoner's Song," "Charleston," "Dancing With Tears In My Eyes," "I Found A Million Dollar Baby" & "Happy Days Are Here Again."

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Notice the reference to Ivar Kreuger, the real-life industrialist who attempted to monopolize the match market. Crimes and scandal dogged his organization and he died a suicide in Paris in March of 1932, seven months before the premiere of THREE ON A MATCH. On New Year's Eve, 1932, Warner Bros. would release THE MATCH KING, starring Warren William and loosely based on Kreuger's nefarious life.

I highly recommend this Pre-Code film, an early directorial effort by Mervyn LeRoy. "Three on a Match" is more frank about life than many other films from that early era. Though Bette Davis is in it, she was still an ingénue with a very small part. She makes no major impact, but the real star of the show is Ann Dvorak (pronounced Vorzhak in case you didn't know).  I have only recently gotten acquainted with this exquisite actress and have yet to see a bad performance in the half dozen or so films I've seen of hers.  She was amazing in "Match," just so very natural, believable, one of the best at making not great dialog zing.  And her eyes!!  Wow!  

The concept of the film comes from a superstition that grew during WWI about three soldiers lighting cigarettes from the same match being bad luck for one of the three.  This is not a war film. The girls are civilians, who at one point light up cigarettes with one match, recalling that superstition. The three are:  Ann Dvorak, Bette Davis and Joan Blondell (she's also good). What is surprising is how their lives change and how straightforward the film is in depicting one woman's downfall. It's very intense, with a shocking and heartbreaking ending.

We get to know three girls as children first and then see them again years later when they reconnect after becoming young women. As children they were very different. As adults their lives take different paths. The film is segmented by yearly dates, jumping ahead every few years to see where they are and how things have changed.

The story becomes a bit predictable, but it's still very much worth sticking with because of how honest the portrayals are and how good Dvorak is. She made an even bigger impact not too long after this by playing Paul Muni's sister in Howard Hawks' "Scarface." "Three on a Match" is worth seeing for a view into a short period of early sound films when they approached their subject matter fearlessly, and had more realistic female characters. Once the production code was instated, female roles became more constrained. This is one of the must-see Pre-Code films.

Another neglected eye-opener from the pre-Code era. No doubt, this cynical essay on wanton motherhood helped bring down the wrath of the censors two years hence. Ann Dvorak is a bored upper-class matron who flees to Europe with toddler son in tow, seeking excitement and a sexual adventure she can't admit to herself. She finds them in the person of shady character Lyle Talbott, with whom she shacks-up neglecting her boy in the process. Dvorak shines in those scenes that graphically chart her growing degradation, which I take from her appearance to include heavy drug use. The ending is frankly pretty predictable, Code or no Code.

The movie is no unmixed triumph. The Blondell--William relationship seems highly improbable, while Bette Davis's contrived role as the third girl on the match remains largely a waste. In fact, the movie's second half comes nowhere near the vitality or subtlety of the first half-- note the nuances of that early bedroom scene where we become privy to Dvorak's failing marriage. It's a little gem. The second half, on the other hand, is not helped by the caricatured gangsters, especially in their final scene which unlike the rest of the movie is also poorly directed. Nonetheless, the 60 minutes comes as a revelation to those of us accustomed to the conventions of a 30-year Code period.

Thanks be to TCM for rescuing these sleepers. I doubt they were shown anytime during the censorship era, and by the time they could be shown, they were too dated and obscure. But now film buffs have a chance to discover a Hollywood era most of us didn't know existed. Three on a Match may not be the most compelling product of that time, but it does prove one thing-- despite the opinion of some, sex was not an invention of the 1960's.

The story follows three girls - Mary (Joan Blondell), Vivien (Ann Dvorak), and Ruth (Bette Davis) - as they graduate from what today would be eighth grade, in the 1920s in what was then the end of public school education. As now, the only real thing you have in common with the people you go to public school is a zipcode. These three have been acquaintances but not friends, as they seem to go their completely separate ways.

Mary is the wild one - she winds up in reform school for grand larceny. Vivien is the dreamy one - she ends up married to a rich guy, a good guy, Robert Kirkwood played by Warren William, usually the cad of the precodes, but not here. Robert is a square guy making a very good living as an attorney, and cares that his wife is not haaappy (I put those extra a's in there on purpose). Ruth continues to be the one on the straight and narrow, pursuing one of the few careers open to a woman in those days - secretary.

Mary gets out of jail and becomes a chorus girl, and one day a chance meeting at a beauty shop leads to a reunion lunch for the three where they share "three on a match" when lighting their cigarettes. There is an old wives' tale that says one will die when this is done.

Vivien winds up abandoning her husband and taking up with a wild no-good cad, mainly because he is exciting and romantic -Mike (Lyle Talbot) - at least until Viv's money runs out. Mary is the promiscuous gal who has a moral center, and Kirkwood falls for her as she seems to really care for him and his son. Ruth is banished to the banal role of governess after Mary and Kirkwood marry.

Viv and Mike wind up in a tenement, hooked on coke after the fun of partying and excessive drinking grows dull. And to make matters worse Mike winds up owing two thousand dollars in gambling debts to a hood who has all of the tough guys of the 30s working for him -Humphrey Bogart, Allen Jenkins, and Jack La Rue. Remember Bogie is not the big star here yet, or even contract Warner Brothers, but he makes the biggest impression of the henchman.

So Mike and Viv are broke and Mike is desperate for cash or the hoods will kill him. What happens next involves some very unexpected turns in the plot and some frank precode moments, even more frank than what has happened so far as the film comes to a startling conclusion.

I don't really have many criticisms other than the moral seems to be that if you stay on the straight and narrow all of your life like Bette Davis' character does, you are doomed to remain unnoticed and in the shadows, alone and working low paying jobs. I like how what is going on in the plot is shown against the backdrop of first the roaring 20s and then the Great Depression - Viv is almost the personification of these two , in order. I thought that Buster Phelps as the Kirkwood son was extremely irritating here, not cute. And in spite of the fact that three years pass at the end of the film he looks the exact same age from beginning to end!

If you like the precodes, this is essential viewing.