Reviews (3)

Sparkling MGM Comedy Of Jewel Thieves In High Society
"The Last of Mrs. Cheyney", in my opinion epitomises everything that MGM represented at it's peak in the late 1930's. Based on the famous and often revived stageplay by Frederick Lonsdale, we have here the perfect star vehicle for a highly sophisticated Joan Crawford at the peak of her artistic and glamourous film stardom where we find her yet again moving in levels of society above where she originated from. In this film Joan Crawford's legendary "shop girl", characterisations really came of age in a delightful confection dealing with "street smart" jewel thieves in high society who realise they are not as smart or indeed as street wise as those high society "dupes" they are prepared to fleece. The "MGM", look is rounded out by leading men William Powell (in his only appearance with Joan Crawford), and Robert Montgomery and with a beautiful class "A", production with careful attention to detail expended in every department. Indeed "The Last of Mrs. Cheyney", despite it's strange lack of success at the boxoffice in 1937, provided Joan Crawford with a refreshing change of pace which she handles very well indeed and illustrates the development in her acting abilities since her famous efforts of the early 1930's such as "Grand Hotel", and "Sadie McKee".

The famous play which this film was based on has seen many revivals including an earlier 1929 film version starring Norma Shearer and Basil Rathbone. That version was very successful however in terms of top production values this 1937 version is far superior. Joan Crawford plays Fay Cheyney, an American woman who travels easily in British high society. She possesses all the manufactured refinement, poise and conversation skills to win over the jaded aristocrats and "old money" crowd who when she has won their trust, proceeds to relieve of their ancestral jewels. In her schemes she is aided by her "butler" Charles (William Powell) and a ring of no good types intent upon making themselves rich via Fay's ability to win the trust of England's titled gentry. Setting up residence in London Fay catches the eye of young Lord Arthur Dilling (Montgomery) and elderly Lord Francis Kelton (Frank Morgan)both of whom will be at a lavish weekend party at the country residence of the Duchess of Ebley(a superb Jessie Ralph), who happens to have a valuable jewelry collection. Seeing this as the possible heist of the century Fay manages to be invited for the weekend by charming the Duchess. Fay considers herself above the titled group around her and touchingly sees herself as "a respectable adventuress rather than a criminial"! Carrying off a beautiful and rare pearl necklace however Fay is caught in the act by Lord Arthur who has his own terms and conditions about whether to turn her into the police. Just as Fay is about to abandon her "calling in life" and go away quietly with Charles who also loves her and is very protective of her welfare, highly embarrassing love letters written to Fay by an ardent Lord Kelton are revealed which turns the tables on the priviledged group assembled at the house by painting them in a very unflattering light and showing them to be no better or trustworthy than the jewel thieves currently in their midst. With this solid gold evidence in their hands Fay and Charles threaten to reveal all to the police and the courts upon which to save face a very hasty solution is found to "everyone's" satisfaction", that also sees Fay happily settled afterall with Lord Dilling in a respectable life as Lady Dilling that will definately see "the last of Mrs. Cheyney".

Despite Joan Crawford's shaking standing in Box Office terms in 1937 this film was an all out effort by MGM to provide her with just the right property to hopefully restore her standing in Hollywood. Joan had to wait for 2 more years and the role of Crystal in "The Women", for that to happen but "The Last of Mrs. Cheyney", is a respectable film sadly not well enough known today. It boasts all the expected MGM polish as became an "A" class production at this time. It combines superb art direction and settings courtesy of the celebrated Cedric Gibbons, wonderful costumes in particular for Joan by the legendary Adrian who was always expert at creating clothes for high society settings of whatever age. The supporting players alone could have earned MGM the title of having more stars than there are in heaven in particular Jessie Ralph as the no nonsense Duchess who takes a shine to Fay, Nigel Bruce as befuddled Lord Winton, and Benita Hume, Ralph Forbes and Aileen Pringle lending their always excellent support to the proceedings. The film was marked by tragedy and potential crisis during production when veteran director Richard Boleslawski suddenly died before the film was completed. Although he received sole billing as director of "The Last of Mrs. Cheyney", in actual fact the chore of completing the film was handed to famous female director Dorothy Arzner who took over the direction for the last few weeks of production. She would team again with Joan Crawford in both women's next film "The Bride Wore Red".

As a typical product of late 30's sophistication "The Last of Mrs. Cheyney", makes wonderful entertainment revealing a world removed from day to day reality with no thoughts of war or depression evident. Joan Crawford and William Powell might not be the most memorable screen team in MGM's history however their work together is polished and offers an interesting variation on Powell's work in particular with more regular co stars like Myrna Loy. Enjoy Joan Crawford as a female "Raffles" finding love in high society in the glossy "The Last of Mrs. Cheyney".

CLASSIC CRAWFORD
This movie actually contains a superior Joan Crawford performance. A beautiful example of a "class picture" from the M-G-M of 1937, this movie - surprisingly - wasn't quite successful enough on its own to pull Crawford out of the "box-office poison" category which plagued her in the late thirties. The movie is based on the Frederick Lonsdale evergreen, which was filmed previously in 1929 with Norma Shearer; the critics mostly agreed that this version was a definite improvement. Crawford got special praise for her smooth comedy playing (although she and Bill Powell had an odd chemistry) and the supporting cast was generally excellent. The Leon Gordon-Monkton Hoffe-Samuel Raphaelson script for producer Lawrence Weingarten made few alterations to the play about jewel theives in high society.... Director Richard Boleslawski, died suddenly while the film was still in production.

Joan Crawford shines as jewel thief who meets her match!
I would not consider this movie "dated" in 1999. The cast is superb with Crawford and her partner in crime Powell planning to endear her to a wealthy family,so she can steal their jewels. Crawford does not know all the pitfalls she will encounter-some hilarious ones at that. Robert Montgomery proves Crawford's ultimate test. Can she give up her exciting but shallow life of crime for him, or will he turn her in if he figures out her ploy. Watch it and have fun seeing it all unfold. ... Read more

Reviews (2)

Katharine Hepburn's first role as a modern independent woman
After her debut in a pivotal supporting role in "A Bill of Divorcement," Katharine Hepburn (who turned 96 this week) received top billing in this 1933 film. Directed by Dorothy Arzner and Produced by David O. Selznick, "Christopher Strong" was based on the novel by Gilbert Frankau with the screenplay by "scenarist" Zoe Akins and the musical score by Max Steiner. Consequently, this film was a "woman's picture" on several levels and a concerted effort to make Hepburn a major star. Remember, this was the early days of sound pictures and Hepburn, with her Connecticut Yankee via Bryn Mawr accent coupled with her rapid-fire delivery had one of the most unique voices around. However, the film did not do as well at the box office as RKO had hoped.

Hepburn plays Lady Cynthia Darrington, an aviatrix of some renown, who has no time to waste for romance. Because she is a virgin and proud of it, she is dragged to a party as a chance encounter with a group of young adults out on a treasure hunt. There she meets Sir Christopher Strong (Colin Clive), who is the very paragon of the faithful husband to Lady Elaine Strong (Billie Burke, who played Hepburn's mother in "A Bill of Divorcement"). Sir Christopher is a politician, whose daughter Monica (Helen Chandler) is of an age to be married. Of course, Lady Cynthia and Sir Christopher fall for each other, but they go their separate ways rather than hurt his family or his political career. She takes off in her aeroplane for a trip around the world, but when he goes to New York City on business they meet again and give in to their love. Soon afterwards, Lady Cynthia learns that she is pregnant.

"Christopher Strong" is probably best remembered for the stunning "moth" dress Hepburn wears at a costume party, which showed off her athletic figure. Actually, she looks good dressed up in her flying suit as well. Since the actress was going to end up making a whole string of costume period pictures for most of the rest of the 1930s I can make a pretty good argument that Hepburn never looked better in any film in her entire career in terms of costumes. Unfortunately, while Hepburn does a solid job as a career minded woman of the upper class, I cannot see Colin Clive without thinking he is going to start screaming, "It's alive! It's alive!" at any moment. Seriously. That is why I just cannot believe the romance between the two. However, the persona of Hepburn as a 20th-century independent woman, is first developed in this film.

excellent!
I love this movie. It's romantic and yet sad. How can I get a copy of this film video? ... Read more

Reviews (3)

A Great Chick Flip
I really enjoy this movie! It is a very romantic movie. It is perfect for a girls movie night. Franchot Tone has the best part imo. This is not Joan Crawford's best movie but I think everyone else is really good in it. If you are looking for a deep meaning kind of movie this isn't it. If you're are looking for a fun romantic movie this is it.

A MEDIOCRE CRAWFORD COMEDY.
This little 1937 flick - which was directed by talented, underrated Dorothy Arzner - found its origins in a play entitled THE GIRL FROM TRIESTE by Ferenc Molnar. The film takes place in the beautiful countryside of Italy and has Crawford play a less-than-virtuous cabaret singer (named Anni) who's been invited by a wealthy aristocrat (George Zucco) to spend a Cinderella-like two weeks at an exclusive resort at Tyrol. Hoping to convince his snobby friends that anyone can appear to be a memeber of the upper crust if provided with the correct trappings, Zucco introduces Crawford as a mysterious socialite, secretly knowing that he will expose her true identity as a common tramp to them at the end of two weeks. At the resort, Crawford plays the role to the hilt, making a gentleman (Robert Young) fall in love with her...Crawford and Tone were married in real life when they filmed this little trifle which boasts beautiful scenery and a fairly entertaining storyline. Crawford once remarked half-seriously: "I'd like to think that all my directors were all a little in love with me - I know Dorothy Arzner was!".

Beautiful scenery, beautiful actors, not-so-good story
Set in the mountains of Italy, this romantic drama about what can make someone happy stars Joan Crawford, who must decide between a life as a postman's wife with Franchot Tone or a stable, wealthy life with Robert Young. Tone has the best lines, and Young acts very well. Sometimes I got a little confused as to what Crawford was trying to do with her role--who she loved--but that was also part of the plot. A little contrived at times, it dwells heavily on class differences and the inability to change who you are. ... Read more

Reviews (8)

Bravo, Valentino!
The quality of this film (or at least the version I purchased) did not seem to be to the standards of other Valentino films (picture seemed grainy and the speed seemed much faster), but I still rate it among one of the best. Like one review wrote, it does lack the style of the later Tyrone Power remake; however, Power comes nowhere close to Valentino's brooding, sensual portrayal of Juan Gallardo, and Nita Naldi was much more convincing as the witchy Dona Sol than Rita Hayworth, and plays the range of emotions (from begging Gallardo to love her to coldly reacting to his death)extremely well. This 1922 version captures the spirit of the bullfight remarkably well in spite of the limitations of silent film-making, and seemed incredibly authentic.

Now - about Valentino. I was puzzled at the over-emphasized eyebrows and wish the make-up artists had not found it necessary to use the effect, as Valentino would have projected a Spanish image easily with his natural dramatic looks alone. But, either way, he is intensely sexy, powerful, brooding, smoldering and hypnotic as usual. I enjoyed his portrayal of the youth Juan, especially his tenderness toward his mother. His transition from youth to adult matador was natural and believable. The scene in which Dona Sol begs him to love her and proclaims that she longs for him to "beat" her with his "strong" hands was highly erotic and was packed with a sexual tension that can't be matched by anyone other than Valentino and his leading ladies. I may be biased, because I am crazy about any vehicle which showcases Rudolph Valentino; however, this film carries its own and I thoroughly enjoyed it from beginning to end. Once again, Valentino has captured my heart, and I recommend this film to all lovers of romance.

What I think....
I think this is the best film Valentino ever did! His acting in the romantic scenes lacks the over the top feel that the loves scenes in "The Sheik" have. He brings a sincere, believeable quality to the character. Also, something that the reviews here seem to miss is the comedic moments in the film. In the scene when the black Moor servant offers to light Valentino's cigarette... the look on his face is priceless! Having the video of this film as well I noticed several scenes on the DVD edition that were missing from the VHS edition.
The DVD edition also includes a wonderfully funny piece of Will Rogers' "Blood And Sand" spoof.

CREEPY VAL BROODS AGAIN
Rudolph Valentino blazed on the silent screen with a weird, smoldering sensuality that seems kind of laughable when seen in stills or clips.

Not so in "BLOOD AND SAND," his most celebrated role. Rarely seen today, this classic silent in a new digital transfer from a 35mm archive negative does justice to the enigmatic Valentino's portrayal of Juan Gallardo, a young Spaniard who achieves his boyhood dream of becoming a famous matador only to fall under the malefic charms of mysterious Dona Sol (Nita Naldi).

The compilation, exotic stereo music score is performed by the acclaimed Mont Alto Motion Picture orchestra. The disc comes with a wealth of supplemental features including a filmed introduction by Orson Welles, a great parody starring Will Rogers, footage from Valentino's funeral and more. Brooding and hypnotic and funky. No one smolders like Valentino. Was he gay or just pleasant?

One of Valentino's best!
I recently bought this movie and loved it. I disagree with Maltin's comments - the seduction scenes are a lot of fun and really make the movie, whereas the bullfighting sequences are less impressive - though Valentino does look great in his matador's costume! What really struck me was the sensitivity in Valentino's performance and the overt sensual quality he possesses that just lights up the screen. Nita Naldi plays her role as the 'the vamp' very well and her scenes with Valentino are great (they played together again in 'Cobra'). Of course, the movie is wildly dated - it's 80 years old! But it holds up well as a piece of entertainment, and fans of silent movies should enjoy it. And if you're a fan of Valentino then you're going to love him in this - he looks stunning and gives one of his finest performances, and according to what I've read it was one of his personal favourite parts to play.

Bravo!
Another of Rudolph Valentino's cinematic triumphs. He stars as a bullfighter who is torn between two women. It's a very good film and the bullfighting scenes are very interesting to watch. Great performances by Valentino, Lila Lee and Nita Naldi make this a good film. ... Read more

Reviews (5)

ME, MYSELF, AND I...
Rosalind Russell is sublime in the role of Harriet Craig, a selfish woman whose life revolves around her material possessions and her veneration of them. She married her husband, Craig (John Boles), not out of love, as he did her, but for the comfort and security that he could provide for her.

Blinded by his love for her, Craig does not see what his aunt, Harriet's own niece, and the housekeeper know all too well, until it is nearly too late. When he has the veil torn from his eyes, after Harriet demonstrates just how little she really cares about him, Craig is then able to see Harriet as she really is and as the others see her. She is then left alone among her sterile possessions, doomed to lead a lonely existence.

Ms. Russell's breakout performance in this film rightly catapulted her to stardom. She was able to take an inherently unsympathetic character and make her somewhat sympathetic, a difficult task, indeed. John Boles is wonderful as the earnest and well meaning Craig, who ultimately realizes that he had given his heart to the heartless.

Billie Burke is delightful as the neighbor. Jane Darwell, Dorothy Wilson, Alma Kruger, and Thomas Mitchell round out the strong supporting cast Based upon the Pulitzer Prize winning play by George Kelly, this play made a smooth transition to the silver screen.

This film was later remade as "Harriet Craig", starring Joan Crawford. The viewer should make an attempt to see them both, as they are both excellent. It is a film to be viewed by those who simply love a good drama. Those who love vintage films will also enjoy it.

SUPERIOR DRAMA
This is Rosalind Russell's movie all the way, she's great as the selfish and self-centered woman, who worships her material possessions. All of her relationships to people (husband, relatives, in-laws,etc) are second and subordinated to her love for her house, its furnishing & ornaments. Intelligently made by the sole women director of that era, Dororthy Arzner. Great sets designed with the aid of ex-star, turned into interior decorator, Mr. William Haines. A scarcely known classic, due to the former and more well known Joan Crawford version of the story, titled "Harriet Craig".

FILM WHICH BROUGHT ROZ RUSSELL INTO PROMINENCE
Based upon the Pulizer Prize winning play by George Kelly, CRAIG'S WIFE is definitely director Dorothy Arzner's most successful venture and it's generally acknowledged as the picture which opened up Rosalind Russell's career in films. The brilliance of this 1936 version (it was filmed before in the twenties with Irene Rich and in 1952 with Mommie Dearest herself, Joan Crawford) comes from the star, Rosalind Russell, who was borrowed for the picture from MGM. Russell always had a talent for bringing warmth to the many cold and calculating characters she played in films; CRAIG'S WIFE made her a star in her own right for she had the rare gift of making unsympathetic characters acceptable to audiences. This film was very well received by the critics, and the post note at the end of the film lingers in the memory: "People who live to themselves are generally left to themselves".

The two faces of Roz
Wow! I had heard and read about Rosalind Russell's first dramatic "breakthrough" performance, but nothing prepared me for the impact of "Craig's Wife". After seeing Ms. Russell perform brillantly in movies such as "His Girl Friday", "The Women" and "Auntie Mame" there was no doubt in my mind that she was a gifted comedienne. But the cold, calculating mannerisms of Roz's Harriet Craig made shivers run down my spine! Ms. Russell's Harriet is so concerned with appearnaces and material possesions that she realizes too late what a wonderful life she has sacrificed to obtain them. Her husband's aunt warns "People who live to themselves are often left to themselves.". This is blatantly proven when we are left with the closing shot of Harriet cowering in a corner of her big, beautiful and very empty home. Kudos! This is Rosalind Russell at her dramatic best!

The Anti-Mame
Rosalind Russell is in danger of being remembered only for her madcap work on stage and in film as the extravagant Auntie Mame. That's a shame, for her earlier work is remarkable for its breadth -- she played everything from haughty British girlfriends to wisecracking career women to O'Neill heroines -- and it would be hard to come up with a character more different from Mame Dennis than her taut, vicious Harriet Craig.

Less wildly lunatic than Joan Crawford's, Russell's Harriet is a deeply disturbed woman who finds herself no longer able to hide her problems, so tightly wound she seems in danger of shattering. Director Dorothy Arzner marshalls an excellent supporting cast (an unusually warm Billie Burke and the marvelous Jane Darwell among them) to set off Harriet's chill with a lovely suburban normality.

All in all, it's a fine introduction to pre-icon Roz. ... Read more

Reviews (8)

Bravo, Valentino!
The quality of this film (or at least the version I purchased) did not seem to be to the standards of other Valentino films (picture seemed grainy and the speed seemed much faster), but I still rate it among one of the best. Like one review wrote, it does lack the style of the later Tyrone Power remake; however, Power comes nowhere close to Valentino's brooding, sensual portrayal of Juan Gallardo, and Nita Naldi was much more convincing as the witchy Dona Sol than Rita Hayworth, and plays the range of emotions (from begging Gallardo to love her to coldly reacting to his death)extremely well. This 1922 version captures the spirit of the bullfight remarkably well in spite of the limitations of silent film-making, and seemed incredibly authentic.

Now - about Valentino. I was puzzled at the over-emphasized eyebrows and wish the make-up artists had not found it necessary to use the effect, as Valentino would have projected a Spanish image easily with his natural dramatic looks alone. But, either way, he is intensely sexy, powerful, brooding, smoldering and hypnotic as usual. I enjoyed his portrayal of the youth Juan, especially his tenderness toward his mother. His transition from youth to adult matador was natural and believable. The scene in which Dona Sol begs him to love her and proclaims that she longs for him to "beat" her with his "strong" hands was highly erotic and was packed with a sexual tension that can't be matched by anyone other than Valentino and his leading ladies. I may be biased, because I am crazy about any vehicle which showcases Rudolph Valentino; however, this film carries its own and I thoroughly enjoyed it from beginning to end. Once again, Valentino has captured my heart, and I recommend this film to all lovers of romance.

What I think....
I think this is the best film Valentino ever did! His acting in the romantic scenes lacks the over the top feel that the loves scenes in "The Sheik" have. He brings a sincere, believeable quality to the character. Also, something that the reviews here seem to miss is the comedic moments in the film. In the scene when the black Moor servant offers to light Valentino's cigarette... the look on his face is priceless! Having the video of this film as well I noticed several scenes on the DVD edition that were missing from the VHS edition.
The DVD edition also includes a wonderfully funny piece of Will Rogers' "Blood And Sand" spoof.

CREEPY VAL BROODS AGAIN
Rudolph Valentino blazed on the silent screen with a weird, smoldering sensuality that seems kind of laughable when seen in stills or clips.

Not so in "BLOOD AND SAND," his most celebrated role. Rarely seen today, this classic silent in a new digital transfer from a 35mm archive negative does justice to the enigmatic Valentino's portrayal of Juan Gallardo, a young Spaniard who achieves his boyhood dream of becoming a famous matador only to fall under the malefic charms of mysterious Dona Sol (Nita Naldi).

The compilation, exotic stereo music score is performed by the acclaimed Mont Alto Motion Picture orchestra. The disc comes with a wealth of supplemental features including a filmed introduction by Orson Welles, a great parody starring Will Rogers, footage from Valentino's funeral and more. Brooding and hypnotic and funky. No one smolders like Valentino. Was he gay or just pleasant?

One of Valentino's best!
I recently bought this movie and loved it. I disagree with Maltin's comments - the seduction scenes are a lot of fun and really make the movie, whereas the bullfighting sequences are less impressive - though Valentino does look great in his matador's costume! What really struck me was the sensitivity in Valentino's performance and the overt sensual quality he possesses that just lights up the screen. Nita Naldi plays her role as the 'the vamp' very well and her scenes with Valentino are great (they played together again in 'Cobra'). Of course, the movie is wildly dated - it's 80 years old! But it holds up well as a piece of entertainment, and fans of silent movies should enjoy it. And if you're a fan of Valentino then you're going to love him in this - he looks stunning and gives one of his finest performances, and according to what I've read it was one of his personal favourite parts to play.

Bravo!
Another of Rudolph Valentino's cinematic triumphs. He stars as a bullfighter who is torn between two women. It's a very good film and the bullfighting scenes are very interesting to watch. Great performances by Valentino, Lila Lee and Nita Naldi make this a good film. ... Read more