Clara Bow gives one of the greatest performances of any actress of the early 1930s. She's a million miles away from the iconic flapper of the 20s which made her famous. In this masterpiece, she brings to life a role you'd expect to find someone like Barbara Stanwyck playing - astonishingly, Clara Bow is easily as good.
If Clara Bow conjures up the image of a good time girl, a saucy sexpot, Betty Boop or the epitome of The Jazz Age, then like me you will be blown away by this. Just how good an actress she is, is a complete revelation of Road to Damascus proportions. Sadly dealing with her own troubled life was more important to her than acting so despite some very lucrative offers from the big studios, she retired from acting shortly after making this. It was a sad loss to the industry because on the basis of this, you can imagine that if she'd carried on, she'd be remembered as someone like Bette Davis, Greta Garbo etc
As Hitchcock said, you can't make a good film unless you've got a good story and this is certainly a good story. It's heavily imbued with moral righteousness but it's thoroughly engrossing. In reality it's probably unlikely that so much bad fortune could befall one person but the brilliant way this is made makes this most melodramatic of all melodramas utterly believable.
Director John Francis Dillon is virtually unknown not just now but even back then. Unfortunately for cinema, he died young so never became famous which, from the evidence here, he was destined to be. This obviously big budget production isn't just magnificently directed, it's beautifully and imaginatively photographed as well. The guy behind the camera was one of the superstar cinematographers of the 30s, Lee Garmes so you know you're going to see something excellent if it's associated with him.
Perhaps what makes this story so relatable to a modern audience is that Clara Bow's character Nasa, seems so normal to us now. OK, she's got an uncontrollable temper but she's very much like any normal girl you'd find anywhere today. Her sense of independence, her crazy notion that a woman is not simply a possession of a man and that a woman can make her own decisions seemed outrageous in 1932: that was not just a different time but a whole different world.
If Clara Bow conjures up the image of a good time girl, a saucy sexpot, Betty Boop or the epitome of The Jazz Age, then like me you will be blown away by this. Just how good an actress she is, is a complete revelation of Road to Damascus proportions. Sadly dealing with her own troubled life was more important to her than acting so despite some very lucrative offers from the big studios, she retired from acting shortly after making this. It was a sad loss to the industry because on the basis of this, you can imagine that if she'd carried on, she'd be remembered as someone like Bette Davis, Greta Garbo etc
As Hitchcock said, you can't make a good film unless you've got a good story and this is certainly a good story. It's heavily imbued with moral righteousness but it's thoroughly engrossing. In reality it's probably unlikely that so much bad fortune could befall one person but the brilliant way this is made makes this most melodramatic of all melodramas utterly believable.
Director John Francis Dillon is virtually unknown not just now but even back then. Unfortunately for cinema, he died young so never became famous which, from the evidence here, he was destined to be. This obviously big budget production isn't just magnificently directed, it's beautifully and imaginatively photographed as well. The guy behind the camera was one of the superstar cinematographers of the 30s, Lee Garmes so you know you're going to see something excellent if it's associated with him.
Perhaps what makes this story so relatable to a modern audience is that Clara Bow's character Nasa, seems so normal to us now. OK, she's got an uncontrollable temper but she's very much like any normal girl you'd find anywhere today. Her sense of independence, her crazy notion that a woman is not simply a possession of a man and that a woman can make her own decisions seemed outrageous in 1932: that was not just a different time but a whole different world.