A legendary film, difficult to see until now, and worth watching for many reasons: it’s adapted from the Kaufman and Ferber Broadway hit from 1927 and is based on the Barrymores; it makes one understand why Ina Claire was a Broadway superstar and then considered without equal in light comedy, something heretofore hard for me to grasp having seen her only in supporting parts, even when she’s been very good in them, like in Ninotchka; it’s one of the films directed by George Cukor in his first year as a film director, was a hit, and paved the way for the type of brilliant career he would go on to have, often mining a similar vein of sophisticated comedy — themes of the relation between theatre and life, women’s struggles with being and doing; it’s a pre-code film with quite daring moments (March undressing, March playful with sexual orientation, March patting a man in the bum); the film skews the traditional placement of gender in film where men do and women are there to be looked at — here women do and feel; March in the Barrymore role is put on all kinds of display, including sexually; the film is enveloped in an oblique but nonetheless evident haze of aspects of gay culture — camp, innuendo, the theatrical, the performative, the excessive (and this includes the male flesh on display)
The most famous scene in the film is March’s entrance (see clip below), which begins as a coup-de-théâtre, where everyone’s looking in his direction. We see someone swathed in fur and then March-as-Barrymore is revealed, and is revealed to be as theatrical as the famous profile he is impersonating. It’s the entrance usually afforded stars, and the role, a handsome bigger-than-life rake of a film star, attracted all kinds of theatre actors who looked down on cinema, weren’t afraid to be theatrical and weren’t yet top-ranking stars themselves (Laurence Olivier played the part in the West End). March’s success in it won him a Paramount contract.
The scene is also famous because of the crane shot that follows March after his entrance from the stairs and into the bathroom as he undresses. According to Arthur Jacobson, ‘We didn’t have such things as camera cranes in 1930, so we had to figure out how to do it’ (loc 1020). They did it with a forklift and moved the camera backward and forward by having about twenty men pushing it. It’s worth it. The scene dazzles technically — appealing to those interested in the development of film as an art form in the era of sound – and for rather more base motives, as March does a little strip-tease throughout the scene, including a little flash of bum, and then quite a tease of the opening and closing of the shower door, a tease at the audience with perhaps an attempt to mask the suggestiveness of the scene, whilst having the peekaboo take place during a conversation with his mother and his sister, which of course is also motivated via the representation of the particular, and particularly titillating, mores of theatre and bohemia. Very much worth a look.
Charles Tranberg, Fredric March: A Consummate Actor Duncan, Oklahoma: BearManor Media, loc. 1020 in Kindle.