Pre-Code: Son of India(1931).

Son of India(1931). A romance film directed by Jacques Feyder. The film is based on the 1882 novel Mr. Issacs written by Francis Marion Crawford. Cast:Ramon Novarro, Conrad Nagel and Madge Evans.

On their long journey across India, Indian jewel trader named Hamid, whose life has not been an easy one and his son Karim, stop their caravan at an Indian village, where they plan to spend the night. There Hamid, tells his son that gratitude is the most important virtue one can possess. He then gives Karim his most precious possession, a large diamond.

Later, Karim meets Rao Rama, an old holy man, who saves his life by hiding him in a shallow grave when a gang of bandits, massacre the entire village, including his father, Hamid.

Now Karim,  has to fend for himself on his travels to Bombay, where he tries to sell the diamond in a jewelry store. The jeweler tries to cheat Karim, by offering him only twenty rupee for the gem. When Karim tries to leaves the store, the merchant calls him a thief and has him arrested.

Things look pretty grim for Karim, until his luck changes, when a wealthy American named William Darsay, overhears the trial and steps forward as a witness to the fact that the jewel belonged to Karim.

Karim, is found innocent and his diamond is returned to him.

Later, when Karim finds William dining in his hotel, he tries to thank him by giving him the diamond, but the American refuses to accept it. Karim, then tells the kind William, that if he will not accept the gift, he must remain forever indebted to him.

While leaving the hotel, Karim is stopped by a wealthy man, who offers him a a lot of money for the diamond, which he accepts. Karim, is now a wealthy merchant.

Many years later while, at a polo match, he meets and falls in love with Williams sister, Janice Darsay.

Later, while visiting Karim at his mansion, Janice is called away by her aunt, who insists that she see William, in Calcutta. Janice, soon realizes her aunt's feelings about her relationship with Karim, when she tells her how she feels about her dating an Indian. Despite her aunt's wishes, Janice goes on a tiger hunt with Karim. Her aunt, then sends a message to William, telling him to come at once to save his sister.

While on their tiger hunt Karim, crosses paths with the bandit who killed his father and during their fight, Janice falls into a poisoned plant and is wounded. After Karim, removes the poison from Janice, the two become engaged.

When William arrives, he is surprised to see that Karim is the Indian with whom his sister is in love with. Even though William likes Karim, he asks him to call off the wedding, because an interracial marriage will ostracize Janice from her friends and family. Will Karim and Janice break off their engagement?

Son of India is a pre-code film starring one of the great actors of silent films, Ramon Novarro. The movie will hold your interest even though it is a very predictable love story. A must see if you are a Ramon Novarro, fan.

Madge Evans (July 1, 1909 – April 26, 1981). Was featured in print ads as the 'Fairy Soap girl' as an infant. She made her professional debut at the age of six months, posing for artist's models.

When she was four years old, Evans was featured in a series of child plays produced by William A. Brady. She worked at the old Long Island, New York movie studio.

Evans posed in a mother and child tableau with Anita Stewart, then 16, for an Anheuser-Busch Brewing Company calendar, and as the little mountain girl in Heidi of the Alps.

At the age of 8 in 1917, Evans appeared in the Broadway production of Peter Ibbetson with John Barrymore, Constance Collier and Laura Hope Crews.

 At 17, she returned to the stage and appeared as Daisy Mayme. Some of her best work in plays came in productions of Dread, The Marquis, and The Conquering Male.

Her last appearance was in Philip Goes Forth produced by George Kelley.

Evans' mother took her to England and Europe when she was 15.  As a child film actress, Evans had quite a prolific career appearing in dozens of films. She appeared with Marguerite Clark in: The Seven Sisters (1915), a film with a large female cast that had been played on stage with Clark's rival Mary Pickford and Laurette Taylor.

She was featured with Robert Warwick in, Alias Jimmy Valentine (1915). At 14, she stared in, On the Banks of the Wabash (1923). She co-starred with Richard Barthelmess in, Classmates (1924). She was working on stage when she signed with Metro Goldwyn Mayer in 1927.

Working for MGM in the 1930s, she performed in, Dinner at Eight (1933), Broadway to Hollywood (1933), Hell Below (1933), and David Copperfield (1935). In 1933, she starred with James Cagney in, The Mayor of Hell.

Other notable movies in which she performed: Beauty for Sale (1933), Grand Canary (1934), What Every Woman Knows (1934), and Pennies From Heaven (1936).

In 1939, she married playwright Sidney Kingsley, best known for his plays Dead End and Detective Story which were later turned into popular films. The couple owned a 50-acre estate two miles from Oakland, New Jersey.

Following her marriage to Kingsley, Evans left Hollywood and moved to the New Jersey home.

Later, she worked in radio and television in New York City. Evans performed on the Philco Television Playhouse (1949–1950), Studio One (1954), Matinee Theater (1955), and The Alcoa Hour (1956). She refused repeated offers to return to Hollywood. She retired in 1971. Madge Evans died at her home in Oakland, New Jersey from cancer in 1981, aged 71.

A Tribute to Conrad Nagel

A Tribute to Conrad Nagel

Born in Keokuk, Iowa, on March 16, 1897, into an upper middle class family, Conrad Nagel was stage-struck when he played Scrooge at the age of 15, and after experiences in a Midwestern stock company, his dignity and good looks won him roles on Broadway. World Film Company cast him in “Little Women” (1919) and this took him to Hollywood, where he worked for both Cecil and William DeMille.

Conrad Nagel was never a big star, and he did not appear in one production which leaves a memorable impression. However, he was the perfect leading man for strong female stars such as Pola Negri in “Bella Donna” (1923), Blanche Sweet in “Tess of the D’Urbevilles” (1924), Marion Davies in “Quality Street” (1927) and Greta Garbo in “The Mysterious Lady” (1928) and “The Kiss” (1929).

The coming of sound helped Conrad thanks to his stage background. Conrad’s diction was superb and he could play both light comedy and drama. He was perfect as one of the on-screen hosts for MGM’s  Hollywood Review of 1929

Conrad’s characterizations in later years were those of gentlemen husbands and lovers. He was never the virile leading man and it would be unthinkable to see him in a fistfight. I remember identifying an older Conrad Nagel in a bit part as Jane Wyman’s lover in “All That Heaven Allows” (1955) His last appearance in a feature was “Stranger in My Arms”(1959). Conrad probably deserves more praise for being the founder and president of the Academy of Motion Pictures Arts and Sciences and as a spokesman for Actor’s Equity than as an actor. In 1940, Conrad was given an Honorary Academy Award for his work.

Just as he had made the transtion to sound, Conrad also made an easy crossover to television, appearing as a regular on Broadway to Hollywood: Headline Clues (DuMont, 1953-1954) and hosting The Silver Theater (CBS, 1949-1950) and Celebrity Time (CBS and ABC, 1949-1952).

For his contributions to film, radio and television, Conrad was given three stars in the Hollywood Walk of Fame.

It’s surprising that after appearing in over one hundred features in a career that spanned forty years, Conrad Nagel did not appear in one film that might be regarded as a classic.

Some film critics consider Conrad to be a bland performer, but he was the wholesome and handsome matinee idol whose all American charm appealed to the film goers.

Conrad Nagel married and divorced three times. He had a daughter with his first wife and a son with his third wife. In 1970, Conrad died in New York City. He was seventy-two years old.

“The Kiss” 1929

“The Kiss” (1929) is a silent romantic drama starring Greta Garbo, Conrad Nagel, Anders Randolf, and Lew Ayres. Directed by Jacques Feyder, this film was Garbo’s last silent film and Lew Ayres’ first major screen role.

In this film, Garbo plays Irene Guarry, a young woman unhappily married to an older man, Charles Guarry, played by Anders Randolf. Irene is in love with a young lawyer, Andre Dubail, played by Conrad Nagel. When Irene decides to stop seeing Andre, she starts spending her time with Pierre Lassalle, the son of her husband’s associate, played by Lew Ayres. When Pierre leaves for college, he begs Irene for a goodbye kiss, a gesture that leads to jealousy, death and an explosive murder trial.



I think what makes “The Kiss” a good film is the combination of Garbo’s acting and the fine cinematography. Under Feyder’s direction, Garbo was even more impressive than she was in her other silent films. I like the way she convincingly played the sympathetic, but no longer in love wife. I also liked the use of light and dark and the superb close-ups. Lew Ayres, whose distinguished career would include “All Quiet on the Western Front” and the Dr. Kildare movies, impresses in his first major screen role. Only 64 minutes in length, “The Kiss” is a good story of tortured romance with a bit of mystery.

Born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, Garbo was brought to the United States by Swedish director Mauritz Stiller after Louis B. Mayer saw her in “Gosta Berlings saga” (1924) and found it exciting enough to sign both Garbo and Stiller to MGM contracts. In her first American film, “Torrent” (1926), Garbo dazzled audiences with her beauty and complex emotions. Her films with silent screen star John Gilbert and their offscreen romance made for big box office as well. One of her most provocative pairings with John Gilbert was “Flesh and the Devil” (1926). With the advent of talkies, Garbo’s career continued to rise and she was successful in “Anna Christie” (1930), “Grand Hotel” (1932), “ Anna Karenina” (1935), “Camille” (1936) and “Ninotchka” (1939). When “Two-Faced Woman” (1941) turned into a humiliating debacle, Garbo decided not to make another film until the time was right. That day never came. The secret of the success of Garbo is not that she lived too long or too short a space in years, but that she knew when to retire and how to fashion herself into a mysterious and reclusive figure. Garbo had one of the most flawless faces in film history, and she looks beautiful in the silent films.

“Quality Street” (1927)

“Quality Street” (1927) is a silent comedy drama starring Marion Davies, Conrad Nagel and Helen Jerome Eddy. Based on the famous James M. Barrie play and directed by Sidney Franklin, “Quality Street” was a good showcase for Marion Davies. In this period story, Marion Davies plays Phoebe Throssel, a young woman who fails to land a proposal from her beloved, Dr. Valentine Brown, played by Conrad Nagel, before he leaves to the Napoleonic Wars. When he returns, Phoebe has become old and drab, and he is no longer interested in her. To punish him, Phoebe pretends to be her teenage niece Livvy in order to win him back.



Even though I’m not a big fan of costume dramas, I enjoyed this film mainly for the screen presence of Marion Davies. It was as a comedienne that Marion truly lit up the screen, and in this comedy of manners she is wonderful in the dual roles of Phoebe and Livvy. I think this silent version of “Quality Street” is terrific in its costumes, sets, and cinematography. I just wish there were more scenes where Marion could show off her comic skills. Although the film has some nitrate decomposition in some scenes, it shouldn’t deter from its enjoyment.

Marion Davies was born Marion Cecilia Douras to a large Brooklyn family on January 3, 1897. All three of her sisters went on the stage but, despite their beauty, never became big stars. The Douras family (soon stage-named Davies) moved to Manhattan and little Marion began finding the theater more fascinating than school. It was during her run in the 1917 “Follies” that she caught the eye of the married, powerful newspaper publisher William Randolph Hearst. It was life-long love at first sight for the fifty-four-year old Hearst. Within a few years, Marion was as dedicated to him as any wife could be. The legal Mrs. Hearst, however, refused him a divorce. Marion had made her film debut in “Runaway, Romany” (1917). The reviews were good, and Marion seemed well on her way to becoming another Mabel Normand, but then Hearst stepped in to guide her career. His taste ran to overblown period films. Ironically, Marion was a brilliant comedienne with limited dramatic skills.

In 1919, Hearst formed Cosmopolitan Pictures, a subsidiary of Paramount, through which the films were released. In 1924, Cosmopolitan changed the affiliation to Goldwyn, and thereby to MGM when the studios merged. Among Marion’s more successful costume dramas were “Little Old New York” (1923), “Lights of Old Broadway” (1925), “Beverly of Graustark” (1926), “The Red Mill” (1927), and “Quality Street” (1927). Later in the decade, Marion was given a few opportunities to show off her comic skills in films like “The Patsy” (1928) where she did hilarious imitations of Mae Murray, Lillian Gish and Pola Negri. In “Her Cardboard Lover” (1928), Marion did a wicked parody of costar Jetta Goudal. “Show People” (1928) was Marion’s finest hour. She showed great comic timing and the rare opportunity to poke fun at both herself and her profession.

Despite her slight stammer, Marion had nothing to fear from talkies. It was the quality of her scripts which gave her trouble. Hearst did fall out with Louis B. Mayer, and in 1934, Marion, Hearst, and Cosmopolitan moved to Warner Brothers. That studio dolled her up in stiff platinum-blonde wigs and starred her in four films. Only “Cain and Mabel” (1936) with Clark Gable really had any merit. Marion had enough and at the age of forty retired. She spent the next fourteen years as Hearst’s wife in all but name. Despite Hearst’s constant efforts to keep her away from liquor, Marion was an alcoholic. Her looks and health began to fade, but not her charm. After Hearst’s death in 1951, Marion quickly wed old friend Captain Horace Brown, more for companionship than for love. The marriage was a stormy one, but it endured. After suffering from jaw cancer for three years, Marion died on September 22, 1961. She was 64 years old.


It’s interesting to note that Marion’s beloved “niece,” Patricia van Cleve Lake, died in her early seventies on October 3, 1993, in California. Shortly thereafter, her son Arthur Lake, Jr. (son of the late actor Arthur Lake), announced that his mother was the daughter of Marion Davies and William Randolph Hearst, born in Paris sometime in the early 1920’s.

THE DIVORCEE (1930)- Pre-Code.

The Divorcee (1930). Drama. Based on the novel Ex-Wife by Ursula Parrott. Director: Robert Z. Leonard. Cast: Chester Morris, Norma Shearer, Robert Montgomery, Conrad Nagel, and Florence Eldridge. Other movies with the same title were released in 1917, 1919 and 1969.

Shearer was not first choice for the lead role in The Divorcee, because it was believed that she didn't have enough sex appeal. It was only after Shearer arranged a photo session with George Hurrell and her husband saw the result, that he gave her the role. The original choice was Joan Crawford, who never forgave Shearer for winning the role.

Norma Shearer's character is very strong willed and is the one to propose marriage to her boyfriend at the beginning of the film. On their third wedding anniversary, Jerry learns that Ted has been having an affair with another woman. Brokenhearted, she turns to Don, her husband's best friend, for comfort. Ted refuses to accept her affairs with other men, so they divorce. After several affairs, Jerry meets Paul and goes on vacation with him on his yacht. When she realizes she does not love him, she returns to Paris, on New Year's Eve. Will she find Ted and will they get back together?

Video:



I really enjoyed watching The Divorcee which takes a look at the double standard. So far, This is one of my personal favorite films of the Pre-Code Era because it's exactly the kind of film that the Code was against.

Florence Eldridge (September 5, 1901-August 1, 1988), she was married to fellow performer Fredric March from 1927 until his death in 1975, and often appeared alongside him on stage and in films.

She died of a heart attack aged 86. She was buried alongside her husband at the March Estate in New Milford, Connecticut.

The Divorcee, is part of the Forbidden Hollywood Collection Volume Two. The other films included in the box set:
Female
The Divorcee
A Free Soul
Night Nurse