On a cruise to Cuba, Lulu Smith falls in love with Bob Grover. Back home, she breaks off the romance when he tells her he is married. Lulu has a baby, but doesn't tell Bob, who turns out to be a rising politician. She passes herself off as the baby's nanny. When Bob learns what is going on, he adopts the little girl, not telling his wife or anyone else where she came from. Lulu gets a job at a newspaper. Things get complicated when the editor gets the dirt on Grover, but also wants to marry Lulu.Written by
John Oswalt <email@example.com>
The 'riding along the beach' sequence was once longer than the version that exists today on Youtube in which 'Lulu' can only be seen in close-up shots that wouldn't have required Stanwyck to go anywhere near a horse (the rest of it, the gallop through the surf, would have been done by stand-ins in any case).When this picture surfaced on British t.v. in the '80s, there was extra footage of both main characters on horseback, talking as they rode before they had their passionate gallop.Maybe the sequence was cut to allow time for t.v. ads and the missing bit has effectively gone for good. See more »
The film begins in the present day, i.e. 1932. There is no attempt at period decor in any way; the automobiles, music, and clothing styles are all contemporary; twenty or thirty years pass by. The principals live out their lives, grow old, and die. Yet their surrounding environment never changes; it is still 1932. See more »
I was a fool! I was crazy!
Lulu, you've got to come back.
What for? To see you make love to your wife?
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Despite a poor script, you still feel the hand of a great movie director
"Forbidden" is no doubt pure melodrama. Frank Capra, its director expressed in his autobiography, that he " should have stood in bed". Fortunately he didn't because although the story is "soggy and 99.44% pure soap opera", using his own words, it still retains powerful moments and excellent interpretations from its main actors: Barbara Stanwyck and Adolphe Menjou. Their first meeting at a cruise to Havana, with Menjou so drunk that he ends in a wrong cabin (number 66 instead of 99) where Stanwyck, bored and happy to encounter somebody, is one of many moments where Capra's talent is evident. Raplh Bellamy is also fine as the managing editor of a newspaper, where gossip is always welcome. No doubt that this early talkie, with some flaws or doubtful situations, still partially conceals that behind the camera there is one of the masters of cinema: Frank Capra. I clearly recommend not to miss this imperfect but valuable movie.
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