User reviews

If you like mysterious courtroom movies about a suffering woman who won't reveal her secret to save her life, rent Confession. If you like Kay Francis, that'll be even better since she's the lead of this one. She plays a nightclub singer who shoots and kills a man one night during a performance. She sees Basil Rathbone in the audience sitting with his arm around Jane Bryan, and for reasons she won't explain, she kills him. Even when she's on trial for her life, she still won't reveal her motivation.

There are lots of flashbacks in this one, and the intriguing story will keep you guessing. I'm not really a Kay Francis fan, but I like to see Basil Rathbone in a romantic role. It's easy to see how Jane Bryan got the role of the innocent daughter in The Old Maid after her part in this drama. If you like this movie, try Madame X or The Trial of Mary Dugan for more black-and-white courtroom classics.

Kay Francis gives what is probably her best, most stunning performance in "Confession" - a near shot-by-shot remake of a 1935 Pola Negri soaper called "Mazurka" about a mother/singer who kills her former lover (Basil Rathbone) as soon as she finds out that he is about court her daughter (Jane Bryan). She is put on trial and asked to recount her story. This is a pretty much a routine "Madame X" weepie about maternal sacrifice but under the direction of Joe May, a German emigré who once collaborated with Fritz Lang in Germany, it becomes an amazingly stylish melodrama with sprawling narrative, expressionist outbursts, inventive camera movements, and interesting use of flashbacks. The final moments after the trial are tragic and sad. I love all Kay Francis' movies; "Confession", I think, is her very best.

Looking older than her years, pretty Polish teenager Jane Bryan (as Lisa) finds herself seduced into kissing suave concert pianist Basil Rathbone (as Michael Michailow). On a date, they see beautiful lounge singer Kay Francis (as Vera) synching "One Hour of Romance" in a sexy costume. When Ms. Francis sees Mr. Rathbone, she faints. As it turns out, Francis has a past connection to Rathbone. Next, one of the film's two startling plot developments occurs, and we move to a murder trial. Francis takes her star position with a flashback to 1912 - and years thereafter, to 1930 - revealing a dark, melodramatic mystery...

Francis proves herself a dynamic tragedienne, especially during the ending trial; darkly costumed, with blonde hair, she emotes fiercely and looks glorious. Ian Hunter (as Leonide Kirow) is credited as the leading man, but he is a supporting player, with relatively little to do. The real leading man is Rathbone, who takes full advantage of a delicious role. "Confession" is a shot-by-shot re-make of Willi Forst's "Mazurka" (1935), which starred Pola Negri (a very influential "silent" actress who lost favor when off-screen affairs preempted on-screen performances). The direction, Joe May swiping Mr. Forst, is excellent.

******* Confession (8/19/37) Joe May ~ Kay Francis, Basil Rathbone, Jane Bryan, Dorothy Peterson

Kay Francis turns in a splendid performance by pulling out all the stops in this 1937 film.

Basil Rathbone is the cad done in by Ms.Francis. He is his usual sinister self in an engaging performance.

Ian Hunter plays the husband who didn't understand what had happened that night and comes to a bad conclusion.

Francis is a great singer literally done in by the vicious Rathbone. One night of exciting living would result in a lifetime of torment, misery and ultimately murder.

Jane Bryan is convincing as the vulnerable young lady who Francis kills for. Refusing to tell why she killed Rathbone, Francis finally talks when the court is cleared. Donald Crisp, as the sympathetic judge, is at his usual best.

What makes this film so good is the appropriate ending.

1937's Confession was a huge hit for Kay Francis, who would soon find Warner Brothers trying to drive her and her big money contract out of the studio with bad scripts. I love when these studios have amnesia about the money a star has made for them.

Confession is a Madame X-type of film, with Francis as a tired, blond cabaret performer a la Dietrich on trial for killing a composer/conductor (Basil Rathbone). She refuses to say anything in her defense, but eventually, she tells her story. In flashback, we see the character of Vera as a young opera singer who gives up her career for love.

The studio treatment of "Confession" was similar to the treatment given "Algiers" - Warners bought up all the prints of "Mazurka," the European version of this film, and kept it from being seen outside of Germany.

Walter Wanger tried to buy up all the prints of "Pepe le Moko" when he made Algiers - fortunately, in that case, the ploy didn't work.

The cast is good, with Francis doing a great job as Vera. Rathbone is appropriately dashing and slimy as Michael.

Jane Bryan (who married Rexall Drugs and retired) gives an odd performance. Her character, Lisa, keeps saying that she doesn't want to see Michael, yet does.

That is understandable, but when she's with him, she acts miserable and like she doesn't want to be there. Not that I blame her, but why go out with him in the first place? She doesn't exhibit, for me anyway, the sexual desire and excitement that would make her nervousness and discomfort believable.

Very good film, recommended, especially for a stunning Kay Francis performance.

This must be the best role Kay Francis ever had - and she rises to it, giving an astonishing performance. When you first see her - in blonde wig, singing and dancing Dietrich style but half-drunk - you know you're in for something different. As the film flashes back Francis transforms into an innocent young girl, and back to the present she stands with solemn dignity, a woman all but "washed-up". You'll never forget the final moments of this film.

When Francis is not on, and it takes her a while to appear, the film is less extraordinary - but by no means bad. Jane Bryan's a bit wet, but Basil Rathbone is suitably slimy as her seducer. And there are strong performances from the wonderful Laura Hope Crews (Aunt Pitty-Pat as an opera singer) and the excellent Donald Crisp.

But it is the visual style of the piece that, coupled with Francis' performance, makes the film unforgettable. The story goes that this is a frame by frame remake of a German film called "Mazurka" starring Pola Negri. This would explain why the film looks so different to the usual Hollywood style. There are bizarre camera angles, expressionist sequences, non-realistic moments, haunting music and bizarre costume, make-up and set designs. Joe May directs with a steady hand, and Sidney Hickox's cinematography and Orry-Kelly's costumes warrant special mention.

This film deserves to be resurrected and re-assessed. It is one of the most original American films of the 1930's. It also makes me want to re-assess the career of Kay Francis, who is an actress I never warmed to before this film. See it and tell me what you think!

"Mazurka", the German hit movie of 1935, was rethought by Julius Epstein, one of the best writers in the business. The film that resulted was "Confession", a vehicle created for the delicious Kay Francis, who was at the height of her fame at the time. Joe May directed this classic film that will endear itself to all classic movie fans. "Confession" packs a lot in its 86 minutes running time, something that would take a lot more of screen time in the hands of other, self-indulgent directors.

The film involves an older woman, Vera, who has had an unhappy life. She has been betrayed by the composer, and famous pianist, Michael Michailow, who abused her when she was young and full of life. That romance resulted in a girl, Lisa, who unknown to her, is being pursued by Michael Michalow himself! Supposedly, this story is based on an actual case that took place in Germany. It presented a different situation for American audiences, who were attracted by the unusual theme of the movie. We are all conditioned that crime must be punished, but in Vera's case, the killing is mitigated by what she is doing in order to protect Lisa, who is a naive, and decent, young woman.

Kay Francis does an amazing job in her portrayal of Vera. This is one of her best films and it shows the care which the whole project underwent to accommodate its star. Ms. Francis, wearing a blonde wig, sings and dances and makes a tremendous impact that dominates the picture from beginning to end. Basil Rathbone is perfect as the villain Miachel Michailow. The sweet Jane Bryant appears as Lisa. Ian Hunter is seen as Leonid and Donald Crisp does a fine job as the presiding judge.

They don't make movies like this anymore!

A remake of a 1935 film called MAZURKA and starring Pola Negri, Warners bought the rights and imported the story for Kay Francis, then the studio's #1 female star.

Francis is nothing short of sensational in this film, a story about a woman wronged, motherly love, honor, and sacrifice. By today's standards this all seemed like high fiction, but in the hands of Francis and director Joe May, this becomes a very stylish and absorbing film.

The direction and camera work are excellent. The music is also very good and helps set the scene. The supporting cast is very good also: Basil Rathbone, Jane Bryan, Veda Ann Borg, Ian Hunter, Laura Hope Crews, Donald Crisp, Robert Barrat, Ben Welden, and Mary Maguire.

Francis is stunning here, mostly as a blonde. And she's quite believable as a singer, although the operetta is rather lame. Still she does well with lip syncing to several songs. But she's never turned in a better performance, going from the girlish singer in love, to the bored housewife who drinks a tad too much at a party, to the accused in a murder case. It's a tour de force performance that should have earned her an Oscar nomination.

The film is beautifully directed by Joe May which is a surprise. A few years before this, May butchered a promising film version of the hit show MUSIC IN THE AIR which starred Gloria Swanson and John Boles. But here his direction is excellent, with lots of interesting camera angles and movement and some terrific composition. He certainly makes the most of the 86 minutes he has.

They just don't make movies like this any more. This one has a good story, crisp pacing, and stunning work from one of the decades biggest and most underrated stars: KAY FRANCIS.

This Kay Francis film is a textbook on how to act in a natural manner, even for the minor characters. The dialogue, expressions of the actors, direction and camera work make this little film a true gem. Note that there is no obscene language, nudity or violence for its own sake, and yet the message is very powerful and memorable. Perhaps someday a farsighted film company will come along and make films like this once again so that serious subjects can be viewed and absorbed by the whole family.

Concert pianist Basil Rathbone (Michael) pursues innocent Jane Bryan (Lisa) behind her mother Dorothy Peterson's back. He is persistent and quite creepy in his affection for her. One evening they attend a club where Kay Francis (Vera) is performing. That is when the film takes a dramatic turn. I bet nobody expected that! The film then plays out in flashback from a courtroom.

The acting is good all round and the sets are inspiring to look at as are the costumes of Francis. She has a very striking look that stays with you and her image when we first see her is memorable. The story is based on a true account and it is a sad story. I wanted a happy ending and I guess it is a happy ending. In a sad way!

I did think that the film was going along a different path as Rathbone seemed to have a modus operandi of dating teenagers which borders on paedophilia. Maybe his slimy come-ons to these young girls will go punished as other women rise up against him? Well, no. He does get a comeuppance but not sure it merits his slimeball behaviour. I really like Rathbone in anything he is in. He is Dick Dastardly in human form and he always excels as the villain of the piece.

The title for the film immediately makes one want to see it, and anybody that reads the plot summary are likely to find themselves intrigued. There were a couple of other reasons for wanting to see 'Confession'. One was the cast, have liked Kay Francis in a good deal of other things (though some are cases where she is better than the other) and am a fan of Basil Rathbone. Joe May was an important figure in his day but has been over-shadowed over-time by Fritz Lang by FW Murnau.

Which is a shame because May proved with the likes of 1929's 'Asphalt' that he could do great work. 'Confession' is another example of May greatness, one of his best. It has often been compared to 'Mazurka' with Pola Negri, namely because it has pretty much the same plot with similarities with that film's score, costumes and camera angles. This doesn't matter though, because 'Confession' is a great film in its own way and doesn't feel too derivative even with the similarities.

'Confession' is a little bit of a slow starter and the structure takes a little getting used to.

Once it gets going though, 'Confession' is excellent pretty much all round. It looks fantastic, not quite as visually innovative as 'Asphalt' but the visual style seen in that film is here too. The photography in particular is dazzling, with some truly inspired and atmospheric use of camera angles. The elaborate and very meticulously detailed settings and eeriness of the lighting can also be seen. The music score is haunting, the use of pre-existing music cleverly used.

May's direction is very accomplished, the best of it actually is so superb (especially on a technical level) that it really is a shame that he is not better known now. The script is intelligently written yet doesn't ramble or be too over-literate. The story is a slow starter, but from the twenty minute mark to the end it kept me on the edge of my seat. The final moments are very moving.

Francis is truly fabulous here, not just elegant but also at her most intense and the tragic aspects of her character are movingly conveyed. It is a strong contender for her best performance. Rathbone is great as usual, in a role with characteristics that he was always very good at doing to a high standard in everything he did. Jane Bryan, Laura Hope Crews and the ever reliable Donald Crisp are strong support.

Summing up, excellent. 9/10

If you love old movies, here's another good one. Kay Francis is great as both Vera's. The happy, charming, wife-to-be, and the broken, sad woman destroyed by Basil's character. Considering all the bad movies made today, this movie inspires me to continue to look for old Hollywood treasures such as "Confession". I think the rest of the cast was good too!

Caught "Confession" on TCM. Never heard of Kay Francis and this movie. But WOW! I was immediately hooked anyway.

Watching Kay saunter through the crowd with the most natural portrayal of a saucy cabaret singer with attitude to rival any Cagney performance made me feel like I was watching someone more sophisticated and modern for that time period. Pay particular attention to Kay's facial expressions talking between her singing "One Hour Of Romance". She owned the crowd and that scene along with the later courtroom performance. A striking woman indeed.

It's rare I catch these kind of naturally acted moments in these old films because most are stiffly delivered with predictably paced speech patterns picked up from a Broadway theater "over" acting style but this one along with Crawford/Gable's "Forsake All Others" gives you a glimpse of the real personalities of these actors and their natural charisma revealed in a relaxed and honest acting style that draws you in and makes you want to watch them.

Kay Francis, (Vera Kowalska) gave a great performance and she wore great clothes which added to her charm in 1937. This story takes off with a young girl who is studying piano and is very close to her mother and she is very sheltered and innocent. Vera is approached by a much older man, Michael Michailow, (Basil Rathbone) who invites her to a concert where he is the performing artist on piano. Michael tries to sweep Vera off her feet and vows that he will never give up on becoming her lover. However, Michael is an over sexed womanizer who leaves one gal for another in a very brief period of time. Leonide Kirow, (Ian Hunter) is a boyfriend of Vera and they get married and have a baby girl and everything is going fine until Leonide has to go to war and Vera just pulls herself into her home with her child and has no social life. It is at this point in the film when things really start to happen in the life of Vera. This is a great Kay Francis film and her acting is outstanding. Enjoy.

This film really hits you in the solar plexus. It is brilliantly directed by Joe May (real name Joseph Mandel), who as a refugee from Nazi Germany never really reached his true level in Hollywood, except with this masterpiece. The film has overwhelmingly powerful performances from Kay Francis as Wanda and Jane Bryan as Lisa, with convincing and sinister support from the incomparable Basil Rathbone, who really knew how to be a smoothie creep when he had to be. The film is almost a frame-by-frame remake of the 1935 German film 'Mazurka', in which the lead role played here by Kay Francis was played by Pola Negri, apparently to gut-wrenching intensity, though I have never seen 'Mazurka' and long to do so. Both films are taken from a real-life murder case of 1930 in Germany which electrified the country at that time. The story is extraordinarily tragic and sad, and the combination of Joe May, Kay Francis, and Jane Bryan make this a deeply emotional experience. Jane Bryan was a dazzling creature, the epitome of brooding innocence, on screen, and as my wife said when we had watched the film, 'when she is not speaking, she is obviously thinking all the time, which most of them don't'. She was such a superior young actress, and it was a tragedy for the cinema that she quit the business early, aged only 22. But she did later persuade her chum Ronald Reagan to run for Governor of California, so she made history instead. (Which is more important, history or movies? Or is there always a difference?) Kay Francis, who always specialized in restrained bottled-up emotion which she could release judiciously under carefully-controlled high-pressure, does more than her stuff in this film. What a knockout the whole thing is. And all those classical musicians and grand pianos and opera singers, very stylish. As for the ermine and gowns, help! This film is so intense, you need to wear protective clothing.