"OTHER MEN'S WOMEN" (1931)

[rmichaelpyle]

The second film in the new release of "Forbidden Hollywood", volume 3, is "Other Men's Women" (1931), with Grant Withers, Regis Toomey, and Mary Astor. Oh, yes, Jimmy Cagney has a small part - and his energy in these small appearances nearly steal the show! This film is definitely a relic. It creaks and has moments that stretch credulity to the near breaking point. However, Mary Astor - as usual - keeps things on kilter. Regis Toomey - an actor at the time who was quite well respected and well-known; he'd just had a major part in the year before's "The Alibi" - plays Astor's husband, and he works as a train engineer. Grant Withers, the lead in this film, and a lead from the late twenties in secondary silents, plays Toomey's best friend, and an alcoholic one at that. Toomey cures the alcoholism of his friend by asking him to come live with the couple (yeah, right!!) and clean up his act. Well, several months go by, and one morning when Toomey is out Withers and Astor suddenly find themselves kissing each other in the kitchen. Guess what happens after that? Can't? Well, then you'll have to watch the movie to find out. There is a nice train wreck - albeit the miniatures are a little too 1930's - and there is some wonderful black and white nighttime photography - and I do mean 'wonderful'! Outside of that, this is typical pre-code fare, and, even with Cagney, a little dull. Joan Blondell is wasted in a small part. J. Farrell MacDonald as "Peg-leg" is wonderful as usual, and nasty Fred Kohler gets to be nasty a little. It made for a nice hour and a half's entertainment while I ate dinner.

[kelly]

I agree it okay film not best Pre code film one thing really bother me in my HD TV I could see they save this film from detoeration from nitrate print

[Midge]

R. Michael, that was an excellent assessment of OMW's strengths and weaknesses. I thought Toomey chewed the carpet a bit in some of his later scenes, though this style of acting was not unusual in that era. Astor's quiet sincerity gave the flimsy story some believability.

The banter between Blondell and the Diner customers in itself was worth the price of admission. I can't quite agree that she was "wasted," because her small role is so memorable, and her wisecracking persona lightened the otherwise downbeat plot. If not for the energy of Cagney and Blondell, OMW would have been just another forgettable melodrama, albeit with superior cinematography.

One thing I liked about this film is the way it began and ended. Instead of the customary theme music, the story opens simply, with railroad sound effects over the credits. It closes the same way. Today we are accustomed to seeing creative beginnings and endings, but to substitute sound effects for theme music was avant-garde for the era. (It probably also saved Jack Warner a boatload of money ). The final scene was also refreshingly original and much more subtle than the customary romantic clinch.

Kelly, I don't have HD so I didn't notice any evidence of reconstruction. Maybe there are some advantages to being behind the times.

[kelly]

Yeah it pretty bad on HD TV maybe it is the print and hey maybe they can't restore it at this time it was okay film I agree