British Army Captain Geoff Roberts carries on an affair with Alva, the wife of the cruel Victor Sangrito. Sangrito, however, is well aware of the affair, as he uses his beautiful wife to lur... Read allBritish Army Captain Geoff Roberts carries on an affair with Alva, the wife of the cruel Victor Sangrito. Sangrito, however, is well aware of the affair, as he uses his beautiful wife to lure men into romance with her, then blackmailing them to save their careers. When Roberts fa... Read allBritish Army Captain Geoff Roberts carries on an affair with Alva, the wife of the cruel Victor Sangrito. Sangrito, however, is well aware of the affair, as he uses his beautiful wife to lure men into romance with her, then blackmailing them to save their careers. When Roberts falls into Sangrito's trap, he pays the blackmail and leaves for India, hoping to forget Alv... Read all
- General Thomas Armstrong
- (as Frederic Kerr)
- French Maid
- (uncredited)
- Non-com
- (uncredited)
- Party Guest
- (uncredited)
- Bertha - English Barmaid
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaSackville Street is part of the Savile Row tailoring area in Mayfair in London. Many people are familiar with the idea of the high quality tailoring in Savile Row. "Savile Row", in terms of tailors, is traditionally regarded as including Savile Row itself and a few of the adjoining streets, such as Sackville Street.
- Quotes
[first lines]
Captain Geoffrey 'Geoff' Roberts: I suppose you will hate me... now.
Mrs. Alva Sangrito: Hate you? I love you more than ever.
[He takes her hand as they gaze into each other's eyes]
- ConnectionsFeatured in Great Performances: Laurence Olivier: A Life (1983)
The studio was unstable bankrupt great depression era Selznick helmed RKO. Director Victor Schertzinger, who had been in film since the first moving frame, pulled poignant performances from his cast and provided the music. DP J. Roy Hunt strapped to RKO through all of its phases provided believable lighting for B/W film through many types of scenes both indoors and out, as well as smooth camera movement and action. Adolphe Menjou survived the silent years to give a decent performance as obsessed, possessed, ardently pining Geoff, Larry Olivier makes his stiff and subtle Hollywood debut in a fair size role as Ned, Lili Damita also from the silent era wasn't a blazing beauty or brilliant actress but she did her part allowing her accent and body to do the rest as Alva, Erich Von Stroheim though a little cheesy made being a sadistic and evil porcelain collector seem lucrative and fun as Victor, and Hugh Herbert as McNellis, trying not to trip over his on and off again accent, bounced through the film offering humor here and there to keep the viewer's emotions connected.
Film making is all about taking the viewer in, cold from the street with their own world in their mind, connecting with their emotions and transporting them to another place and time, taking them on an emotional roller coaster ride until the film is through. If at any time the coaster slows or stops, the viewer has time to realize themselves again, even if only subconsciously, and the film has lost them. If picked up again, the viewer must start over emotionally with the story. Condensing this film down to 68 minutes keeps the viewer's attention the entire time. The overall ride may be short, the sets may be cheap, the acting may not be the best, the plot may be thin, the music may be shallow, the dialog may be simple, but tell a story that efficiently and the viewer doesn't notice while watching. Should the viewer notice, it's not considered long because the next sequence is already speeding along with fresh new things for the brain to process. Plot of the film is simple on the surface though it has a few morality testing twists and turns. For what they had to work with, the plot was kept clean and cohesive, the shots were tight, the camera action was appropriate, the cinematography and lighting was believable, the sets weren't spectacular but scenes didn't last long enough to pick them apart, the tension was there, the emotion was heavy, the beauty was shown, the dialog was believable and the actors sizzled.
So much happens at a comfortable pace that I never once got bored or thought about anything else other than the film. I ignored a ringing phone. I ignored portable electronics. The film was paced so well that I didn't want to look away. I was completely surprised by how enjoyable the film was to watch, unlike so many pre-code early 30s films I have suffered through. (I'm an elitist film snob, so I will watch a terrible film just so I can say w/o any doubt I hated it.) If there is so much fluff in a film that I sit there and start counting how many steps the actress is making across every single room, on every single street, up every single stair and then start counting their stares, far off looks, exaggerated baby spot lit soft shots, and on top of it listen to senseless dialog that does nothing to forward the plot but included just so that the actress/actor is getting a certain percentage of screen time, I feel I'd rather have a root canal without anesthetic rather than sit through the rest of the film. For me to sit through an entire early 30s film without moving or thinking of anything else means the film is very special in some way.
In retrospect, I wonder: the novelty of the talking pictures was new, but it does make me wonder if viewers really loved the long lingering shots of the starlets or if they tolerated them. Did they expect them because they were paying money to be visually entertained? Does length equal value? According to rumor, the film lost $260k at the box office, though IMDBpro, AFI, or BFI don't offer any budget or salary info. Perhaps Friends and Lovers was shot with the same early 30s heavy fluff monkey on its back but given to a gifted editor that said NO to fluff. Regardless, this is a very rare 68 minutes that I was happy watching a pre-code film, and for anyone like me who barely tolerates movies of the early 30s because of the unnecessary fluff, give this one a watch. It's not the best film in the world, but 68 minutes isn't long in comparison to 2 hours of Norma's eyebrows going up and down.
- oceanchick
- Sep 21, 2010
- Permalink
Details
- Runtime1 hour 8 minutes
- Color