My original review linked below was from a bootleg copy back in 2008.
Do not confuse this film with the 1950 Barbara Stanwyck film noir “No Man of Her Own” directed by Mitchell Leisen. This 1932 release directed by Wesley Ruggles was the only celluloid pairing of Clark Gable and Carole Lombard. (Technically, Gable and Lombard were in two other films, either in small roles or as extras. Both were silent films and both from 1925, “The Plastic Age” directed by Wesley Ruggles and “Ben-Hur: A Tale of the Christ, directed by Fred Niblo).
Made for Paramount, Gable on loan from MGM, the film is a light comedy-drama about a con man named Babe Stewart (Clark Gable) who needs to escape from the big city (New York) to a small town until things cool off with the law. While there, he meets a local librarian, a young and beautiful woman named Connie (Carole Lombard) who is board with the humdrum life of small town living and will do almost anything to leave her dull surroundings. Babe spots her on the street and follows her to the library where she works, though Babe does not seem the type to frequent libraries. Babe pursues the attractive librarian, and Connie is willing to be caught despite a mother (Elizabeth Patterson) who keeps her on a short leash.
On a flip a coin, Connie gambles not only her virtue but also her future. They get married and go back to New York where Babe plans to continue on his career as a con artist. They move into Babe’s luxurious depression free apartment. Connie, unaware of Babe’s real and illegal profession, believes he is working as a broker on Wall Street. With the move to the big city, the audacious Connie suddenly switches gears and goes from an adventurous young woman to spending the remainder of the film trying to reform Babe to the straight and narrow. When she discovers a pair of marked cards belonging to her husband, she realizes that he has been lying about his career and arranges the deck so Babe will lose. Upset with her chicanery, Babe at first wants to give her a couple of thousand and send her back to her mother. Then he decides to go to Rio de Janeiro with his partners to do some big time gambling, however realizing he loves her, he instead arranges to get himself arrested for a ninety-day jail-term. This so he can square himself with the law, while Connie living with her mother during this time, believes he is in South America. Of course, it all ends happily for the couple in the Hollywood tradition.
Released at the end of 1932, this pre-code film is loaded with smart bright dialogue and racy pre-code scenes. We see both Lombard and Gable in separate showers scenes and we watch Lombard strip down to a bra and Victoria Secret style undergarments, running back and forth across a room when Gable unexpectedly knocks on her cabin’s front door. We then see her put on a pair of lounging pajamas, but not before the filmmakers make sure we know she is removing her bra. The most famous risqué scene in the film takes place earlier in the library when they first meet when Gable purposely request a book located high up on the top shelf. Lombard has to climb a latter and lean over just enough and at the correct level for Gable to admire her shapely legs. Today, this scene is not very provocative but at the time, it seemed to irritate the guardians of decency and became a symbol in the fight for cleanup of movies.
There is quite a bit of sophisticated dialogue throughout the film, for example, early on Kay (Dorothy Mackaill), one of Babe’s partners and his mistress tells Charlie (Grant Mitchell) another cohort in the scheme that “next time you play my uncle, cut out those wet kisses.” Later on Connie says “The girl who lands him will say no and put an anchor on it…But isn’t it tough when all you can think of is yes?”
Both lead characters are allowed to be adult and mature, unlike in most of today’s romantic comedies where the characters, male and female, seem to thrive on infantile behavior.
The rapport between Gable and Lombard is easily apparent. Both are young and extremely attractive, however they were not romantically involved off screen for a couple of years yet. On screen, their scenes sizzle. Just check how they look at each other in their love scenes. Gable was still married to Ria and heavily involved in an affair with Joan Crawford. In fact, one of the reasons, MGM lent Gable to Paramount was to get him away from Crawford in hopes of cooling off the romance. Lombard, at the time, was still married to the seventeen year older William Powell. At this point, Gable thought Lombard’s well-known salty tongue was a bit much, though later on he would say proudly that she could out curse any man he knew. Lombard’s feelings toward Gable at this point are best surmised by her parting gift after the shoot was over, a ham with a photo of him on it. Various biographers tell the story that politically Lombard and Gable were at opposite poles, maybe. Lombard was a stanch Roosevelt democrat who hated Herbert Hoover and use to say so loud and clear. Gable, one day, came on the set wearing a Hoover button, which Lombard proceeded to rip off him and said, “You can shove this up Louis B. Mayor’s ass!” Mayor, an unwavering Republican insisted that his stable of stars all vote Republican. It’s not known for sure how Gable voted.
Before Gable was secured for the picture (in a trade that involved Bing Crosby going to MGM to co-star in a film with Marion Davies) George Raft was considered for the role of Babe. Miriam Hopkins was originally scheduled for the role of Connie but was upset about Gable getting top billing and refused to do the film. The supporting cast consists of Dorothy Mackaill, as Babe’s mistress Kay who he unceremoniously dumps early in the film, Grant Mitchell as Charlie, one of Babe’s “gang”, George Barbier and Elizabeth Patterson as Connie’s parents.
Gable’s name is the only one that appears above the title. Lombard, still a rising star and Dorothy MacKaill share second and third billing below the title. While Lombard was yet to reach the height of her star power, during the filming, Paramount was making a big fuss over her to Gable’s dismay. He considered her a bit of a prima-donna and gave a pair of ballerina slippers as a parting gift.
The film seems to be sometimes mislabeled as a screwball comedy however, after watching it there is little to support that label. Screwball comedies usually contain farcical elements, fast-talking dialogue, and slapstick humor. Generally, the couples are mismatched and continually battle each other, none of which applies in to his film. It is also generally considered that screwball comedy did not come to prominence until 1934 with Frank Capra’s “It Happened One Night.” Finally, Screwball comedies actually came about largely because of the Production Code that came into effect in 1934 which ended much of the pre-code delights in this and many other early sound films.
While this is no great classic, the film is enjoyable, with some sharp dialogue and pleasant performances and the only chance to see Gable and Lombard together as lovers on film.
Clark Gable: Tormented Star by David Brett
Clark Gable: A Biography by Warren G. Harris
Released in 1950, the film stars Barbara Stanywck and John Lund, it was directed by Mitchell Leisen from a screenplay by Sally Benson and Catherine Turney, based on the novel “I Married a Dead Man” by Cornell Woolrich who wrote it under the pen name William Irish. This was the first of four film versions to have been made from the book. In 1983, there was “I Married a Shadow (Jai Espouse une Ombre) starring Natalie Byle. In 1996 came “Mrs. Winterbourne” with Ricky Lake and in 2001 a made for TV movie called “She’s No Angel” with Tracy Gold. By the way, do not get this film confused with the 1932 Clark Gable/Carole Lombard “No Man of Her Own,” the only thing they have in common is the title.
Helen Ferguson (Barbara Stanwyck), a woman with an immoral past finds herself pregnant and dumped by her low life lover Steve Morley (Lyle Bettger) for another dame. He slips Helen some money and a train ticket underneath the door of his apartment and tells her to get lost, go back home to San Francisco. Thus begins a series of events, wild as they are, that will change everyone.
On the train heading home Helen meets Hugh and Patrice Harkness (Richard Denning and Phyllis Thaxter) a newly married couple who are on their way to Hugh’s parents’ house in Illinois where Patrice will meet her in-laws for the first time. Like Helen, Patrice is also pregnant. Enroute, Helen and Patrice become chatty, sharing some bonding moments; Patrice even lets Helen try on her ring. Just at this moment, the train derails resulting in a deadly crash. Hugh and Patrice are killed while Helen is injured ending up in the hospital. With the ring still on her finger everyone in the hospital assumes she is Patrice Harkness. Helen, her life at a dead end, allows the misunderstanding to continue and soon finds herself lovingly welcomed into the home of Hugh’s parents. Hugh’s brother, Bill (John Lund) is immediately attracted to her but he is also a bit suspicious of her however, he says nothing. Though at first feeling guilty, Helen eventually settles into the middle class, middle America home as both she and the baby are warmly embraced by the Harkness family. Life is good until her former creep of a lover Steve resurfaces, seeing dollar signs, he has a scheme of his own.
“No Man of her Own” is a well-paced atmospheric tense noir and Barbara Stanwcyk gives another one of her effective performances with a strong female character. She is especially impressive during the marriage ceremony scene which is all part of Steve’s blackmail scheme. We here her in voice over telling us what she is thinking, yet if your watch her eyes, they reveal even more than what is said. The biggest problems with the film are a weak performance by John Lund who comes across as just plain bland and unexciting. Additionally, at forty-three years old, Barbara Stanwyck is a little too old for the role though, as I mentioned earlier, she gives her usual strong performance. Finally, I have not read the Woolrich novel on which the film is based however, from what I have read in doing research the book’s ending is much bleaker than the happy ending tacked on to the film. The darker ending would have made for a much stronger film than the obligatory happy studio ending.
A few words must be said for Lyle Bettger who is excellent as the totally despicable slimy Steve, Helen’s cold hearted blackmailing boyfriend. Bettger made a career in mostly “B” films and later on TV typically as a villain. Here he is effectively vile and loathsome, he makes you just want to take a shower and wash his slime out of your system.
If you ever read a biography on Billy Wilder you would come to believe Mitchell Leisen to be the worst director ever to sit behind a camera. Wilder claims Leisen ruined his scripts (“Midnight” and “Hold Back the Dawn”, both co-written by Charles Brackett) and this is what made him determined to become a director himself, to protect the written word. Preston Sturges also complained about Leisen cutting his scripts (“Easy Living” and “Remember the Night”). So are Leisen directed films that bad? Well, I have seen “Midnight” and it is a funny and smartly written and well directed film as is “Hold Back the Dawn.” As for the Sturges written “Remember the Night” it is a nice blend of romantic comedy with some dark drama and a Christmas season background. It also is a precursor to the reuniting Fred MacMurray and Barbara Stanwyck four years before Wilder’s “Double Indemnity.” Leisen’s films are always visually stylish thanks to his background in art direction and costumes. In his time he was a well-respected and versatile studio director, despite Wilder and Sturges thinking, who did well whether it was a romantic comedy, melodrama, or musical. He sometimes even mixed them together as he did with “No Man of Her Own”, a blending of woman’s melodrama with noirish overtones and doing it successfully. Other Leisen films include “Hands Across the Table”, “Swing Low, Swing High”, both with Carole Lombard and Fred MacMurray, “Arise My Love”, “I Wanted Wings” and “The Mating Season.”