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.

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.

After viewing the video version of this movie again last night, I was surprised at how most of the movie stands up today. As with many "from the headlines" movies produced by Warner Brothers and First National in the early 1930s, the pace is rapid. I prefer the latter part of the movie to the earlier scenes, which provide a lengthy prologue to the main story. It is unfortunate that the lead actress, Ann Dvorak, is almost forgotten today, for she was a beautiful and talented actress, who more often than not was more capable than the material she was given. Hers is an unusual character, but an interesting and not too hysterical performance. It's also fun to watch future stars like Bette Davis and Humphrey Bogart in supporting roles, as well as to savour supporting performances by Jack LaRue, Allen Jenkins and Lyle Talbot. The climax is quite remarkable, although the tacked on happy ending jars with the mood of the movie as a whole. Well worth watching on the late show, cable, or if you find a copy of the video.

Three on a Match (1932)

A tightly interwoven plot about three "types" of women, from their school days into adulthood, played out with snap and sizzle. This is one fast, loaded movie, playing loose with morals and fast with stereotypes, and playing against them at times. There is little more painful than a man or woman falling to ruins, and it's made so reasonable, so nearly exciting, and so really reprehensible it's a surprise and a cinematic thrill.

Yes, a terrific movie, and not just for 1932. The interplay between the lead women (including a tart young Bette Davis) is great, and as the plot moves into a full blooded crime film (with Warner Brothers knew how to make better than any of them), it really screams. Throw in Humphrey Bogart (a decade before Casablanca) and you have something you have to watch.

But these are the obvious reasons, the film buff draws. Watch lead actresses Joan Blondell and Ann Dvorak for their sheer ability, and their likability. And for how they can be themselves before the code kicked in in two years. Mervin Leroy is a great director, of course (the same year he did the incomparable I am a Fugitive from a Chain Gang) and seeing his range and control is a treat. Don't miss it. Just an hour long, too.

Warner Bros had a reputation for pumping them out in the early 30's like chocolate covered Goobers at a Saturday Matinee. The story was typical Warner Bros from that time period.

Anne Dvorak, married to a successful lawyer and mother of a cute little 6 year old boy, becomes restless and looking for excitement, takes the boy and runs off with a small time hood. She eventually turns into a drunk (and worse). Her best friends (played by Joan Blondell and Bette Davis) give up on her and turn the boy over to his father. She continues to sink deeper and deeper into the filth as her husband divorces her and marries her best friend Joan. Meanwhile, her boyfriend, in a desperate attempt to pay off a gambling debt, kidnaps and holds the boy for ransom. The end is melodramatic and no real surprise, but it is exciting.

This film is interesting for a couple of reasons. It represents the kind of film that Warners did best in those years. Action, pathos, and the underworld. It is also interesting because of the casting. Although Humphrey Bogart plays a thug, he wasn't Mr Big in this one. He was just a run of the mill thug. Ann Dvorak seems to have switched characters with Bette Davis or Joan Blondell. She becomes more and more corrupt as the picture wears on until you are convinced she is beyond redemption. Bette and Joan, on the other hand, become more and more saintly until they are practically beatified by pictures end. I should mention the stock support players as well. Add Lyle Talbot (as the dispicable boyfriend), Edward Arnold (as Mr Big), Jack La Rue and Allen Jenkins (as the reliable hoods), and you have a Warner Bros winner.

Finally, there is the pre-code shenanigans. For a change, Joan Blondell doesn't sit on the edge of the bed, in her slip, rolling on a pair of stockings. Bette Davis does. By the way, this is the only picture I have ever seen where Bette Davis shamelessly displays her legs. And a fine set of legs at that. Look for the scene I just described as well as a scene at the beach. In another scene that would never have made it past the Hayes Office, Ann Dvorak comes out of the bedroom rubbing her nose when she realizes her son was kidnapped. Humphrey Bogart glances knowingly at the boys, rubs his nose, and sarcastically winks. A DOPE FIEND! There is a scene where she is passed out on the double bed. There is booze, cigarettes and ashtray on the bed, and a couple of cigars on the nightstand. In another scene she is splayed out on the couch with a drink in her hand, booze bottles all over the apartment when her little boy walks into the room. His face and clothes are filthy and he says he is hungry. She glances over at him, points to a tray of half eaten o'rdoevres, and says "eat that".

These little tidbits don't necessarily make it a great movie, but the cast and the story do.