by Frank Calvillo
The Archivist
Welcome to the Archive. Following the infamous “Format Wars” (R.I.P. VHS), a multitude of films found themselves in danger of being forgotten forever due to their admittedly niche appeal. Thankfully, Warner Bros. established the Archive Collection, a Disc On Demand & Streaming service devoted to some of the more idiosyncratic pieces of cinema ever made. Being big fans of the label, we here at Cinapse thought it prudent to establish a column devoted to these unusual gems. Thus “The Archivist” was born — a biweekly look at some of the best, boldest and most batshit motion pictures the Shield has to offer. Some of these will be recent additions to the collection, while others will be titles that have been available for awhile. With over 1,500 pictures procurable on Warner Archive (and more being added every month), there’s no possible way we’ll get to all of them. But trust me when we say we’re sure going to try.
Many people love the romance and glamour that films from the golden age of Hollywood continuously provide. Yet if there’s something that movies from the 30s and 40s exemplify better than glorious escapism through fanciful stories and starry-eyed performers, its an unflinching look into the harsh society in which these movies were born. In this edition of The Archivist, we’ve got a pair of titles starring two iconic screen goddesses who dared to fight convention and live life by their own rules.
RECKLESS (1935)
When this soapy melodrama first made the rounds, producers felt that it should be Jean Harlow to take on the lead role. After making a name for herself as the dizzying blonde leading lady of many successful comedies throughout the decade, it was decided that the actress should have a dramatic role to in an effort to prove she was more than just another comedy star. The result was Reckless, which saw Harlow play Mona Leslie, a broadway sensation with a good heart. Mona’s closest confidants are her grandmother (May Robson) and her close friend Ned Riley (William Powell), a sports promoter who also harbors a secret love for Mona. When Mona’s marriage to the wealthy Bob Harrison (Franchot Tone) ends in his suicide, Mona is cleared of any wrongdoing, but her career and public standing is ruined as she cannot escape the public’s persecution and image of her as an incidental murderess.
It’s clear from the get go that Reckless is a pure showcase for Harlow as director Victor Flemming has her decked out in one lavish costume after another as well as lipsynching to a pair of show-stopping numbers. Yet underneath the showiness of Reckless however, lies the story of a woman who continuously had to fight for respect and her rightful place in the world, even after she had earned it. Though she picked herself up from the boot straps and made something of herself, Mona has to continuously prove herself to the critics, her public and, most importantly, to Bob’s family, who feel she is not good enough for their son.
Although Bob’s death is declared a suicide, Mona is still held responsible, despite having no actual responsibility for it. It isn’t long before the public turns on Mona. She is unable to find work and is declared an unfit mother by many for the child she will now bring up alone. In spite of all this, when the reliable Ned agrees to finance a show for her, Mona agrees to return to the stage. When her opening number is greeted by near-unanimous jeers, Mona stops and exclaims to the audience that she did nothing wrong and how their own prejudices are what’s tarnished her image in their eyes. Reckless concludes with Mona stating that if this is the last song she ever sings, she’s going to sing it and sing it the best she can until it’s end.
MY REPUTATION (1946)
Without question, one of Barbara Stanwyck’s more softer turns on screen, My Reputation is saved from being another standard sudser thanks to the actress’ ability to bring both strength and vulnerability to her roles.
My Reputation opens on Jessica Drummond (Stanwyck), a well-to-do widow and mother recovering from the recent death of her husband Paul. Trying to pick up the pieces and move on with her life, she accepts an invitation from friends Ginna and Cary (Eve Arden and John Ridgely) for a getaway on Lake Tahoe. While there, Jessica encounters Major Scott Landis (George Brent) while skiing. Although she is hesitant at first, Jessica becomes taken with the direct and charming Scott and finally begins to feel alive again, unaware of the extremely critical judgement she will receive from society and her family.
While it may seem that My Reputation may be a throwaway piece of fluff about a second romance, the film is actually a rather horrifying document about the treatment of women in proper 40s society. It’s truly anger-inducing to watch this broken woman come out of the darkness and find a reason to love life again, only to be chastised for it at every turn. Jessica’s new romance is shunned by the majority of the people in her life for happening far too soon and with a man everyone thinks is “ill suited.” Friends invite her to parties and then gossip about her as she fetches a drink, while acquaintances mentally note her and Scott’s meetings.
Its unfair enough that society should judge Jessica’s newfound love, but the harshest of all judgements comes from her mother Mary (Lucile Watson). Mary is incredibly puritanical in her beliefs (to the point where she herself has worn nothing but black since her own husband’s death years earlier) and scolds Jessica for her behavior. Jessica’s mother lays it on the line when she states: the world allows considerable liberty to wives that it has never allowed to widows.” Watching Stanwyck so seamlessly portray a character who overcomes both pain and scandal is what made her a world class actress and My Reputation is proof positive of that.
