The Keyhole

Kay Francis plays a woman being blackmailed by a former partner (Monroe Owsley). She discovers that he never got the divorce he promised and her new marriage is illegal. Hatching a scheme with her sister-in-law (Helen Ware), she flees to Havana, hoping the cad will follow. He does but so does the detective (George Brent) her husband hires to spy on her. Wild storyline becomes more believable as the film goes on because of the chemistry between Francis and Brent. Good support from Glenda Farrell, Allen Jenkins, and Clarence Wilson. This ranks as one of Kay Francis' best women's pictures of the early 30s--with One Way Passage and Confession.

I've been watching Kay Francis for decades and this is one classy lady. Her career can best be compared to Greta Garbo, as they both experienced enormous success in the 1930s and a decade later left Hollywood, retired, never to be seen again. Fortunately, their films are still with us.

THE KEYHOLE is pure escapism. And let's face it, this would not be a Kay Francis movie without a dynamic wardrobe to match. Bottom line, whether you're going to dinner or going to jail, you must be dressed to impress. This is IT. Also, a few years before his pairing with Bette Davis, earnest George Brent was Francis' leading man, and in fine form here playing a detective, who --quite naturally -- falls for this beautiful lady in distress.

Kind of a corny plot, but it all comes smoothly together, because it's a Kay Francis movie. Best of the best at Warner Brothers are the supporting players. Who else but wise-cracking Glenda Farrell and Allen Jenkins are added to the cast to work their magic, and they do.

Michael Curtez directed, but considering the talent, the wisest thing he probably did was not get in their way and just let it flow. A real treat to watch from beginning to end. These 30s movies truly are like old friends who never wear out their welcome.

10 Stars.

Always on remastered WB dvd. Thank you so much to TCM for running this gem.

Peeping through THE KEYHOLE we find an unhappy wife who sails to Cuba to shake off a blackmailing former lover, not knowing that her millionaire husband has sent a handsome detective to compromise her...

This elaborately plotted little picture is a very fine example of the kind of film Warner Bros. produced so effortlessly in the 1930's. Frothy, a bit silly & fun, it boasts entertaining performances and good production values. Depression audiences sat through scores of movies just like this, generally well made, but with interchangeable plots & stars.

Kay Francis & George Brent handle the romantic situations very nicely. Sophisticated & charming, they keep their stock characters from ever becoming dull. The humor is supplied by brassy blonde Glenda Farrell as a gold digging shill & dumb-as-dirt detective Allen Jenkins.

Henry Kolker as the suspicious husband, Helen Ware as his elderly, sympathetic sister, and Monroe Owsley as the oily Lothario, all add to the fun in their supporting roles. Especially enjoyable is little Ferdinand Gottschalk, appearing in only one scene as a comically flirtatious old banker.

Movie mavens will recognize sour-faced Clarence Wilson as the head of the detective agency.

Anne Brooks (Kay Francis) is married to a wealthy financier about twenty years older than herself. She was previously a dancer, and at a very young age married her dancing partner, Maurice LeBrun (Monroe Owsley). She found out he was a slime ball, and so when he asked for a divorce she was all for it. But he never got that divorce, and now he's blackmailing her over the fact that her marriage to Schuyler Brooks is not legal.

Ann goes to her sister-in-law, Portia, who comes up with a plan. Ann will lure Maurice out of the country by going on a ship voyage. Then Portia will use her connections in the federal government to get Maurice's visa revoked on grounds that he is an undesirable alien so that he cannot get back into the country. Then Ann can go get the marriage to Maurice annulled quietly.

But Schuyler, not knowing any of this, has separate plans of his own. All of Anne's skulking about, going to see Maurice secretly to try and stall him and keep him quiet have Schuyler believing Anne may be having an affair. He hires PI Neil Davis (George Brent) to follow Anne on her voyage and find out if she is the cheating kind. So far this sounds rather mundane, except that Neil has a natural skepticism towards women and their fidelity, and if he can't FIND infidelity, he sleeps with the women himself so that the husband has something in the way of evidence to take to court. But during the long time he is getting to know Anne, he begins to fall for her and determines that she is actually a good woman. Complications ensue.

The - I guess you'd call it courtship - between Anne and Neil takes a large part of the middle of the film, and it is rather slow going compared to the fast moving beginning and ending. Plus it doesn't show any of those Curtiz flourishes. It does show the great chemistry between Brent and Francis, and their later scripts were much better paced and suited to them.

Allen Jenkins, as a PI himself, actually helped this film, and he definitely livened up the rather slow middle as he struggles to be Neil's valet as a cover story for him being onboard the ship with him. But he also catches the eye of Dot (Glenda Farrell) who is a rich young woman on the ship. What does she want with Jenkins? Watch and find out.

There's a great bit of business towards the beginning where Jenkins goes to a hotel and warns a bunch of "Mr. Smiths" that there is about to be a raid. All of the Mr. Smiths leave their hotel rooms and head for the elevator at the same time.

THE KEYHOLE has a clear plot hook, strong characters (you love 'em or hate 'em), non-static cinematography and colorful details that keep you entertained from the first frame. A number of Kay Francis movies had a similar plot structure: wealthy, beautiful, fashionable, sophisticated woman with man problems, usually triangular, but in this case quadrangular. Michael Curtiz keeps this one moving at a fast clip. In this particular plot, Francis's nasty ex-husband (Monroe Owsley) is blackmailing her while her jealous, aging current husband (Walter Kolker) hires a dapper private eye (George Brent) to follow her to make sure she's not seeing another man and of course Brent and Francis fall in love. Allen Jenkins (as Brent's dopey sidekick) and Glenda Farrell (as a crooked golddigger) are on hand as comic counterpoint to the lead players. Francis is charming as usual, exhibiting her trademark "look" - the raven hair swept back to show off her natural widow's peak, the unique eyebrow penciling that curves around her melancholy eyes, and the statuesque grace; and of course her character goes through about 15 costume changes in the 69-minutes of running time (a different drop-dead outfit for every segment of the day). The public inevitably tired of her, which is why she is forgotten today; she was more interested in her salary than in the quality of her roles, as she freely admitted. But when she was in her prime, wow, what a prime. Moving with feline grace in backless satin gowns, she is phantasmal and ravishing, yet still earthy, accessible and even vulnerable. You can't look away. So what if she couldn't pronounce her r's?