The Blonde in Red Headed Woman

 

For all intents and purposes, the pre-code drama Red Headed Woman is a Jean Harlow film. Harlow plays a selfish man eater looking for wealth; and, she’s willing to trade her most valuable “assets” for the big score. It was a great commentary on greed and the women who laughed at the male-female class system of yesteryear. Chester Morris plays a victim of sorts, though he’s hardly innocent. Morris is married to a lovely, down-to-earth and faithful woman, Irene ‘Rene’ Legendre (Leila Hyams). Not only does he cheat on Rene with Harlow’s character (Lillian ‘Lil’ Andrews), but he seems very nonchalant about her feelings in general.

Leila had 4th billing in this film. Harlow was naturally given top billing, followed by Chester Morris and Lewis Stone (playing Morris’ father). All three are fine performers and deserving of their respective positions on the movie poster. However, Leila’s “Irene” was the only character that had the audience on her side. I admit to being partially biased, but even objectively, no other character made the viewer angry of their behalf. In the screen capture below, Leila is teary-eyed at the news of her husband’s indiscretions.

My initial feeling after watching this scene was one of disgust. I found myself wanting to jump through the screen and strangle Bill Legendre (Morris). After awhile, I did remind myself that it was only a movie. But, it drove my respect for Leila even deeper. All she had to do was stand there and look at him with that broken-hearted expression. There was no huge blowout, no dramatic explosion, just a look. Leila’s character, like many real-life women, suffered for her forgiving personality. She tried to salvage the marriage between her and Bill, but her efforts were met with resistance and an unwelcome intervention from Harlow’s character, who seemed to enjoy the idea of smashing a happy home to pieces. In one particular scene, Irene shows up at Bill’s door to mend fences…

Again, she is made to feel like a fool. Bill is obviously blinded by Lil’s physical offerings and he forgets what constitutes a real woman. Irene is a combination of the best qualities but under-appreciated and disrespected by her own husband. She naturally suspects herself as the cause of her husband’s need to look elsewhere. While we, the audience, know better, it’s her quest for true happiness that gives Bill the benefit of the doubt. Here is a short clip where Jean Harlow’s character barges in thoughtlessly:

For those who’ve yet to see this gem from 1932, I won’t reveal the ending or even hint around it. I will say, however, that Leila is stunningly beautiful in this film. Her character is solid, hardly a bit part but not quite a starring role. Thankfully, this is one film that can be obtained on DVD, as part of Warner Brothers’ “Forbidden Hollywood” Collection. Leila is charming, captivating and memorable as Irene. She’s everything a classic lady should be.

Ruggles of Red Gap

 

I just re-watched Ruggles of Red Gap the other day and found a new appreciation for it. I only wish that Leila’s role was more prominent in the film. When she was on screen, she lit up the atmosphere. Leila plays Nell Kenner, a local singer in Red Gap, Washington, who seems to be well liked by everyone. I got the impression that she was the town’s “anchor”, that one person that everyone recognized as a symbol of reassurance.

Many of Leila’s scenes are funny, not in a negative way, but rather in the way that she blended her natural comedic abilities with her down-to-earth persona. She was, after all, a New York gal, born and raised. That “real” quality shines through in much of her film work. One scene in particular stands out – when Nell (Leila) tries to teach George Vane Bassingwell (Roland Young) how to play the drums. It’s painfully obvious that he has no rhythm whatsoever. Leila’s mannerisms and facial expressions are classic in this scene.

 

It’s no surprise that Leila sang in this film. She was often praised by critics, not only for her looks and charm, but for her voice. Her parents were singers and comedians on Vaudeville and Broadway. Her father, John Hyams, was particularly noted for his rich baritone. Leila sang a few short numbers but could have easily carried the film if it had been shot as a musical.

This film was released in 1935. As many of us are well aware, Leila retired from making films the following year in 1936. Be that as it may, Ruggles of Red Gap really is a wonderful period piece. There are a few unauthorized DVD releases, mostly from overseas. You can always grab the VHS tape online. It’s well worth the effort!

The echo of “Freaks”

Aside from a few technological advances, the world really hasn’t changed much since 1932. The cars and the clothes look different, and class may have taken a few beatings, but the foundation of human nature has remained the same.

When Freaks debuted in 1932, it wasn’t the most well-received film by any means. The vast majority was completely appalled by these bigger-than-life “oddities”. Naturally, society was aware that people like this existed, but they didn’t want to have to look at them, or be exposed to their gruesome exteriors. They certainly didn’t want the undesirable plastered across their beloved silver screen. The film’s director, Tod Browning, had a much different opinion. Having been raised around carnivals and the circus for much of his young life, Browning felt a camaraderie with sideshow performers. He saw the human beings in them – the people trapped beneath a physical hardship. It’s very likely that Browning made Freaks not to exploit these people, but to prove them to be as important as the “normal” citizens of the world.

Since Leila Hyams is our main focus, it’s noteworthy that she, as Venus, was one of the few who treated the sideshow acts with respect. In today’s society, we’re exposed to many people who deviate from our definition of normality. It could be their appearance, their choice of religion or sexual preference. Whatever the case, those looking from the outside tend to pass judgment. However, there are also the Venus-esque people of present day, who recognize difference as a uniqueness rather than a flaw.

Freaks is a commentary on intolerance. For that reason alone, it’s still as relevant today as it was when it debuted. The message was blatant, and it took place in a circus setting because of Browning’s personal convictions. Had it been set anywhere else, the message would have still come through. The shock value of the film served it’s purpose quite effectively. The audience gave their full undivided attention because the images before them shocked their system into response. Their instinct was to recoil in horror, but to be horrified, they first had to acknowledge the presence of these unfortunate people. They’d fallen right into Browning’s carefully orchestrated trap. It was his way of acting out for attention, on behalf of the misunderstood crowd he dearly loved. We see a number of people behave in the same manner nowadays.