The last time I saw Robert Taylor directed by Mervyn LeRoy, it was in Quo Vadis, which I dug. That may be the main reason I took a suggestion to see this. It was also the personal favorite of both Taylor and co-star Vivien Leigh, who had just made it big as Scarlett O'Hara at the time.
In World War I London, Capt. Roy Cronin (Taylor) escorts ballet dancer Myra Lester (Leigh) to safety during an air raid. They soon take interest in each other and are eventually engaged, but Roy gets deployed before they can marry. Myra's effort to give him a proper sendoff means missing a rehearsal and getting kicked out of the troupe. She later reads Roy's name in a list of fallen officers. Between financial desperation and romantic despair, she takes up the world's oldest profession -- only to run into Roy again, as he'd been a POW, not dead. (It's not a spoiler if other summaries say it, right?) He has no idea what she's been up to, and she'd rather keep it that way, but the secret complicates their engagement, particularly in light of his haughty aristocratic relatives....
This is a remake of a 1931 hit. I can think of two reasons for its existence less than a decade later: The Hays Publication Code required a more roundabout way to address the subject of prostitution, and the onset of World War II renewed interest in a story from the last great war. Brief scenes at the beginning and ending actually take place in WWII, with the main story being a flashback. It might just be the first film ever to feature WWII in any capacity.
Unfortunately, as IMDb users hasten to point out, the remake is scandalously negligent about audiovisual authenticity. The hairdos and clothing look no older than 1940. Taylor seems to make no attempt at a British accent. And the soldier uniforms come closer to an American style.
I have to wonder how credible the plot was for the time, too, putting aside the obvious elements of contrivance. Demands for blackouts were one thing, but why would churches not be allowed to hold weddings except between 11 a.m. and 3 p.m.? And do any real troupe leaders demand that dancers have no other life? I'm surprised only one friend stuck by Myra at the cost of her position, instead of enough to threaten the overall performance.
Since the opening scene gives it away, I might as well tell you that Roy and Myra do not have a happy ending together. I felt bad for them, especially Myra, but I can't help thinking that it's partly her own fault. Her emotions lead her to withhold important information that could have saved both herself and others a bigger heartache. I realize that such ironies occur in real life sometimes, but that doesn't make them pleasant to watch on screen.
A recurring theme is a good-luck charm that Myra passes to Roy before he goes to war. I suppose you could say it worked for him and left her in the lurch, but that makes the ending questionable. By then, it's more a memento than anything else.
Many viewers think WB's high overall ratings aren't enough -- that it should be regarded as on par with Casablanca or whatnot. Me, I think it's a little overrated. Strengths like Leigh's acting and the award-nominated cinematography and score (dominated by motifs from "Auld Lang Syne" and "Swan Lake") keep getting counteracted by glaring weaknesses. Maybe someday I'll try the 1931 original, but first I'd better get the 1940 version out of my system.
No comments:
Post a Comment