Whatever it was, it's too bad there doesn't seem to be any of it left. Warner Bros. pre-code was like a renaissance atelier - genius in the air, tons of talent on hand, cranking out, if not masterpieces, some unforgettable confections. Tons of bit part players in this one, it's as though they couldn't let anyone just walk on and act, the scene had to be chewed through. This sometimes seems distracting when you're caught up in the story, which, as with "Three on a Match," uses the threatened child to keep you in suspense. But with Lee Tracy and Ann D., plus all these superb faces and shticks, can anyone really complain? Worthwhile to think about why this Warner Bros. vision of life seems to get tremendous lift from exploiting a certain idea of the US press, never better represented than by Tracy - at least until Grant in "His Girl Friday."
17 Reviews
The plot leaves something to be desired
AlsExGal27 December 2009
Molly Louvain is a girl who has become pregnant by a rich young fellow that loves her and wants to marry her. He has told her that he intends to tell his mother that night before Molly gets to his house to attend his birthday party. However, when Molly shows up at the family estate she is told by the butler that mother and son left suddenly for Europe. Apparently Molly's fiancé loved mother's millions more than he loved Molly and no doubt Molly's would-have-been mother-in-law could not tolerate the idea of a member of the huddled masses being her future daughter-in-law. All alone in the world, Molly turns to shady character Nicky Gant, who takes her away from her home town and out on the road. Molly figures he's possibly financing their way with stick-ups, but Molly asks no questions as she has a baby to think of. One day Nick gets in a shoot-out with the cops with Molly at the wheel of the car, and suddenly Molly is up to her neck in Nick's past and present illegal activities. She dyes her hair blonde and decides to hide out under a false name in a small apartment until the heat is off. Molly has two problems that complicate matters even further - she is unable to go check on her baby, who she has left with kindly acquaintances, and ambitious reporter Scotty Cornell lives across the hall and is determined to find Molly Louvain and crack the story of a lifetime.
This film is watchable largely because nobody plays a woman suffering from the internal moral struggle of good versus evil like Ann Dvorak (as Molly Louvain) and nobody plays the smart aleck reporter that will do anything for a story like Lee Tracy (as Scotty Cornell). However, the film seems incomplete in so many ways. There is no chemistry between Tracy and Dvorak at all, and a story like this needs their chemistry in order to have their relationship in the film seem something other than tacked on. The ending is also woefully incomplete. It seems like Warners ran out of budget and the powers that be just said "stop here and write some dialogue to round this thing out".
I'd recommend this just to see Lee Tracy and Ann Dvorak do the kind of acting they do best, just don't expect the kind of precode sizzle you saw in any of James Cagney's and Joan Blondell's films.
This film is watchable largely because nobody plays a woman suffering from the internal moral struggle of good versus evil like Ann Dvorak (as Molly Louvain) and nobody plays the smart aleck reporter that will do anything for a story like Lee Tracy (as Scotty Cornell). However, the film seems incomplete in so many ways. There is no chemistry between Tracy and Dvorak at all, and a story like this needs their chemistry in order to have their relationship in the film seem something other than tacked on. The ending is also woefully incomplete. It seems like Warners ran out of budget and the powers that be just said "stop here and write some dialogue to round this thing out".
I'd recommend this just to see Lee Tracy and Ann Dvorak do the kind of acting they do best, just don't expect the kind of precode sizzle you saw in any of James Cagney's and Joan Blondell's films.
Maternal Love and True Love? Nah!
disinterested_spectator11 December 2014
Warning: Spoilers
In the opening scene of this movie, the title character is crying because she is pregnant. Her rich boyfriend promises to marry her, but he quickly deserts her by leaving town. The plot summary for this movie identifies this boyfriend as Jimmy, but that is a mistake. We never see the rich boyfriend again.
Jimmy, on the other hand, is a clean-cut medical student who is not rich at all, which is why he has to work as a bellhop. Jimmy loves Molly, but she rejects him. She is attracted to a gangster, and goes off with him instead, getting involved in a few of his crimes, and handing her daughter over to an orphanage. When she runs into Jimmy a few years later, he still loves her and wants to marry her and be a father to her daughter. At first she agrees to marry him, but she actually desires Scotty, a hardboiled reporter who promises only that he will show her a good time for a while and then dump her. She likes the idea. In fact, this makes her realize why her own mother abandoned her when she was a child, because when a woman really wants a man, nothing else matters, not even her own child. Jimmy walks in while they are kissing, and she tells him she has decided to run off with Scotty instead.
In the last reel, Scotty has a change of heart, promises to help her fight the charges against her for her involvement with the gangster, and then marry her. That a movie should feature a fallen woman who would reject the love of a good man like Jimmy (twice) and knowingly choose men who are scoundrels instead is amazing enough. That she should end up living happily ever after by doing so is a story that could exist only in the pre-Code universe. Or in real life.
Trivia: this may be the first movie in which the person shooting a gun and the person being hit with the bullet are in the same frame.
Jimmy, on the other hand, is a clean-cut medical student who is not rich at all, which is why he has to work as a bellhop. Jimmy loves Molly, but she rejects him. She is attracted to a gangster, and goes off with him instead, getting involved in a few of his crimes, and handing her daughter over to an orphanage. When she runs into Jimmy a few years later, he still loves her and wants to marry her and be a father to her daughter. At first she agrees to marry him, but she actually desires Scotty, a hardboiled reporter who promises only that he will show her a good time for a while and then dump her. She likes the idea. In fact, this makes her realize why her own mother abandoned her when she was a child, because when a woman really wants a man, nothing else matters, not even her own child. Jimmy walks in while they are kissing, and she tells him she has decided to run off with Scotty instead.
In the last reel, Scotty has a change of heart, promises to help her fight the charges against her for her involvement with the gangster, and then marry her. That a movie should feature a fallen woman who would reject the love of a good man like Jimmy (twice) and knowingly choose men who are scoundrels instead is amazing enough. That she should end up living happily ever after by doing so is a story that could exist only in the pre-Code universe. Or in real life.
Trivia: this may be the first movie in which the person shooting a gun and the person being hit with the bullet are in the same frame.
Definitely 3*** in my book
moveebob21 May 1999
Curtiz' slick, odd, interesting little flick. Ann Dvorak is a small-town go-getter. Her boyfriend deserts her. She hooks up with a worthless, hustling traveling salesman and has a daughter by the boyfriend who dropped her. She tries to drop the salesman and gets involved in a murder imbroglio, but gets off with the help of fast-talking newspaper reporter Lee Tracy. Fast paced and acted in Warner's best style
has the distinct feel of Warner Brothers all over it
blanche-229 August 2014
Warner Brothers used to put out gritty crime films that were unmistakable, and this one is no exception. And happily, it's pre-code, which is even better.
Ann Dvorak is Molly Louvain, who is hoping to marry a wealthy young man since she's carrying his baby. He promises to tell his mother about them, but he must have run into some problems -- such as disinheritance. He and mom have gone to Europe by the time Molly gets to the house to celebrate his birthday.
Miserable, Molly takes up with Nick Gant (Leslie Fenton, Dvorak's future husband), a crook, and can raise her daughter comfortably since he's good at robbery. However, Molly is the wheel man when Nick has a shootout with the cops, and she goes on the lam after leaving her child with someone she trusts.
Molly dyes her hair blond and takes an apartment in a false name.Alas, there's a reporter across the hall (Lee Tracy) who wants to find Molly so he can have a career-making story. She gets a job as a dance hall hostess and runs into a bellhop she knew, who was crazy about her (Richard Cromwell). She and Jimmie have to go on the run after Nick shows up again and gets them into more trouble. Then guess who she runs into who's hot on her trail.
Fast-moving, fast-talking film with a lively performance by Lee Tracy, who has great chemistry with Dvorak. The striking Dvorak was a perfect '30s film actress, acting in a style that went well with those films. Today it would be considered overdone. She hated being at Warners because they gave her below average movies and next to no money -- she found out she was making the same salary as the little boy in Three on a Match, and she wasn't happy. She eventually moved to England, did some films, and devoted herself to war service. She never liked Hollywood and ultimately retired.
Richard Cromwell was a matinée idol for a short time but doesn't register much, though he was cute. Gay, he was Angela Lansbury's first husband for a few months, and before film stardom and after it, he enjoyed a very successful career as an artist.
All in all, a watchable film with a crackerjack performance by Lee Tracy and it's always good to see Ann Dvorak.
Ann Dvorak is Molly Louvain, who is hoping to marry a wealthy young man since she's carrying his baby. He promises to tell his mother about them, but he must have run into some problems -- such as disinheritance. He and mom have gone to Europe by the time Molly gets to the house to celebrate his birthday.
Miserable, Molly takes up with Nick Gant (Leslie Fenton, Dvorak's future husband), a crook, and can raise her daughter comfortably since he's good at robbery. However, Molly is the wheel man when Nick has a shootout with the cops, and she goes on the lam after leaving her child with someone she trusts.
Molly dyes her hair blond and takes an apartment in a false name.Alas, there's a reporter across the hall (Lee Tracy) who wants to find Molly so he can have a career-making story. She gets a job as a dance hall hostess and runs into a bellhop she knew, who was crazy about her (Richard Cromwell). She and Jimmie have to go on the run after Nick shows up again and gets them into more trouble. Then guess who she runs into who's hot on her trail.
Fast-moving, fast-talking film with a lively performance by Lee Tracy, who has great chemistry with Dvorak. The striking Dvorak was a perfect '30s film actress, acting in a style that went well with those films. Today it would be considered overdone. She hated being at Warners because they gave her below average movies and next to no money -- she found out she was making the same salary as the little boy in Three on a Match, and she wasn't happy. She eventually moved to England, did some films, and devoted herself to war service. She never liked Hollywood and ultimately retired.
Richard Cromwell was a matinée idol for a short time but doesn't register much, though he was cute. Gay, he was Angela Lansbury's first husband for a few months, and before film stardom and after it, he enjoyed a very successful career as an artist.
All in all, a watchable film with a crackerjack performance by Lee Tracy and it's always good to see Ann Dvorak.
"Wouldn't it be awful if we fell in love?"
utgard1426 August 2014
Molly Louvain (Ann Dvorak) is knocked up and abandoned by a rich guy. So she takes up with a dirty crook (Leslie Fenton), then a naive bellhop (Richard Cromwell), and finally a cynical reporter (Lee Tracy). She's the Goldilocks of love. Fun Pre-Coder from WB is a nice showcase for lovely Dvorak, one of classic Hollywood's most under-appreciated talents. She dyes her hair blonde in this. Gotta say she looked better as a brunette. This is also the movie she met her first husband Leslie Fenton. The two married not long after this was released. Lee Tracy doesn't show up until a half hour or so into the picture but things pick up once he does. His scenes with Dvorak are filled with snappy banter and excellent chemistry. The movie really takes off when these two are together.
Pre-Code, and how!
marcslope9 March 2012
Fast little Warners item, from a play by Maurine Watkins--who wrote the source material for "Chicago," and this hard-boiled B is very much cut from the same cloth, with big-city corruption, tough-talking dames, and vice not always unrewarded. Ann Dvorak, always good in this sort of part, is the girl from the wrong side of the tracks whose attempts to crash high society are thwarted, and ends up a fugitive, for reasons she's not quite guilty and not quite innocent of. She's also an unwed mom, and not entirely an unsympathetic one, this being a year before they started fully enforcing the Production Code. Lee Tracy plays, as he was born to play, a fast-talking, fast-thinking newspaperman, and watching him at his peak is sort of like watching Cagney--he's so lively he's impossible not to like, even playing a reprobate like this. The story doesn't quite hang together: If Molly was really abandoned by her mom at seven, as she states early on, she's only 16 at the start of the film, which makes no sense at all. And while nobody, not even Tracy, is able to recognize the peroxide version of Molly as the same on-the-lam gal in the picture they have of her, her infant daughter does, at once. The tone's uneven, too, veering between melodrama and uneasy comedy. But Dvorak and Tracy are so watchable, and the supporting cast (Richard Cromwell, Guy Kibbee, Frank McHugh) so quintessential early-'30s Warners, it's a fine time-waster.
Ann is the whole show
jjnxn-16 March 2012
The great Ann Dvorak wraps this up with her special brand of magic. It's really a shame she isn't more well known today. A lot of that seems to be because she didn't really have the ambition to stay on top after her initial burst of stardom which is a shame, she was always an arresting screen presence. Here as a woman more sinned against than sinner she is compelling and once she switches to platinum hair very striking. Her troubles are common ones faced in many pre-code dramas but she handles them with grit and skill. Her large expressive eyes tell volumes. Lee Tracy is abrasive but that was his usual persona so if your a fan he isn't bad, I've always found him an acquired taste. Efficiently directed by Curtiz this zips right along even if the ending is a bit of a letdown.
Strange love is apt
TheLittleSongbird23 July 2020
Ann Dvorak was always worth watching, she often stole scenes in support and was far from bland when in lead roles. Lee Tracy likewise. Have a lot of great admiration of Michael Curtiz and he directed a few of my favourite films of all time (have named them in some of my other reviews of his work), so it was interesting to see one of his early works. The story sounded sort of interesting, though had the traps of being unrealistic and melodramatic.
'The Strange Love of Molly Louvin' is worth a one-time watch, if not much more than that. It has a good deal of good things, such as the production values and leads, but also a good deal of bad, such as a story that never quite comes together. All did much better things, Curtiz even did better at this early stage of his career. 'The Strange Love of Molly Lauvin' is not a terrible film but it is just not a great one. Don't really consider it particularly good either and only slightly above average curio level.
Will start with 'The Strange Love of Molly Louvin's' good things. Dvorak, very early on in her career, carries the film well in a not easy role to pull off, while having an issue with the character herself Dvorak made the absolute most of what she has and is in control of her material rather than the other way around. Tracy is even better in a role perfect for him, he is both charming and amusing and gives his character a likeable snap and wit. Actually thought that Dvorak and Tracy did have chemistry here and it was done very nicely, their banter raising a smile. Most of the rest of the supporting cast are solid too, Guy Kibee and Frank McHugh are good value.
It is a good looking film as well, stylishly shot without being filmed play-like and the settings and costumes are handsome without being too glossy. The music doesn't overbear and is not too constant. The script has moments, especially in the banter between Dvorak and Tracy and the story does liven up when Tracy appears. Curtiz gave much better and much more distinctive and refined direction later on but does more than competently here in terms of visually and some atmosphere.
Sadly, 'The Strange Love of Molly Louvin' is brought down by the story which never really comes together. Do agree that it did feel incomplete and choppy, like there were scenes filmed that never made it into the finished product which would have helped it make more sense. The ending is abrupt to the point of not feeling like an ending at all and did agreed feel like the writers were fighting severe time constraints and ran out of time. The story also came over as ridiculous and very difficult to find any believability in, didn't mind so much that it was cliched and was a very slow starter (coming to life when Tracy enters the picture) but did mind that there is a real lack of realism throughout.
Also felt that the script was confused tonally. At some points it is very melodramatic and soapy, doing this to an overwrought degree, and at other points there were attempts at very hit and miss comedy that didn't always gel and the gear changes between the two weren't always seamless. It would have been better to stick to just one of them rather than attempting both. Richard Cromwell was pretty bland and if there was anybody that Dvorak didn't have any chemistry with it was him.
Concluding, above average curio but very little exceptional here and quite strange. 6/10
'The Strange Love of Molly Louvin' is worth a one-time watch, if not much more than that. It has a good deal of good things, such as the production values and leads, but also a good deal of bad, such as a story that never quite comes together. All did much better things, Curtiz even did better at this early stage of his career. 'The Strange Love of Molly Lauvin' is not a terrible film but it is just not a great one. Don't really consider it particularly good either and only slightly above average curio level.
Will start with 'The Strange Love of Molly Louvin's' good things. Dvorak, very early on in her career, carries the film well in a not easy role to pull off, while having an issue with the character herself Dvorak made the absolute most of what she has and is in control of her material rather than the other way around. Tracy is even better in a role perfect for him, he is both charming and amusing and gives his character a likeable snap and wit. Actually thought that Dvorak and Tracy did have chemistry here and it was done very nicely, their banter raising a smile. Most of the rest of the supporting cast are solid too, Guy Kibee and Frank McHugh are good value.
It is a good looking film as well, stylishly shot without being filmed play-like and the settings and costumes are handsome without being too glossy. The music doesn't overbear and is not too constant. The script has moments, especially in the banter between Dvorak and Tracy and the story does liven up when Tracy appears. Curtiz gave much better and much more distinctive and refined direction later on but does more than competently here in terms of visually and some atmosphere.
Sadly, 'The Strange Love of Molly Louvin' is brought down by the story which never really comes together. Do agree that it did feel incomplete and choppy, like there were scenes filmed that never made it into the finished product which would have helped it make more sense. The ending is abrupt to the point of not feeling like an ending at all and did agreed feel like the writers were fighting severe time constraints and ran out of time. The story also came over as ridiculous and very difficult to find any believability in, didn't mind so much that it was cliched and was a very slow starter (coming to life when Tracy enters the picture) but did mind that there is a real lack of realism throughout.
Also felt that the script was confused tonally. At some points it is very melodramatic and soapy, doing this to an overwrought degree, and at other points there were attempts at very hit and miss comedy that didn't always gel and the gear changes between the two weren't always seamless. It would have been better to stick to just one of them rather than attempting both. Richard Cromwell was pretty bland and if there was anybody that Dvorak didn't have any chemistry with it was him.
Concluding, above average curio but very little exceptional here and quite strange. 6/10
another typical gangsta film from the 1930s
ksf-210 April 2018
Anne Dvorak got into silent films as a child, and was the perfect age to star when talkies began. In addition, the film code wasn't in yet, so they could still accurately reflect ALL types of relationships.. in one of her first credited roles, Dvorak is Molly, who always dreams of marrying her own prince charming. Some real adult themes in this one, and good thing it was before the film code. Trying to avoid any spoilers, but she cozies up to the bad guy when the nice guy bails out on her. Guy Kibbee is "the cop". Co-stars Lee Tracy, who made some great films with Jean Harlow. Frank McHugh is in here, yet again, as a newspaper reporter. It's another Michael Curtiz film, waaaay before Casablanca. It's your typical girl-caught-up-with-gangsta film from the early 1930s. At least she doesn't use the squeaky high baby voice that so many used during that period. It's ok. has its ups and downs. It is refreshing to see real life situations, after so many white-washed films in the 1930s and 1940s. Shows on Turner Classics now and then.
A brunette saint, a blonde sinner, and all the same person!
mark.waltz24 March 2015
Warning: Spoilers
In one of her few leading roles, the powerful dramatic actress Ann Dvorak tries to get past a mediocre script involving a troubled young woman trying to get through her own mediocre past. She's pregnant out of wedlock, abandoned by the wealthy father (disappearing without a trace thanks to an obviously possessive unseen society matron mother), and in her effort to support her child, ends up a fugitive in hiding with reporter Lee Tracy trying to get the goods on her. The non-sensical situation lacks in any real character motivation or believable plot development and culminates with Tracy stealing her from her obviously decent boyfriend (Richard Cromwell) seemingly so he can expose her as the notorious moll she's gained an undeserved reputation for being.
While not unattractive, Dvorak didn't have traditional leading lady looks which made her perfect as the other woman, gangster's moll or scheming sister to the heroine. Photographing rather harshly, the switch of her hair color from black to blonde accentuates that even more. This is pretty much no different than the women's soap opera type films which starred such Warners contract players as the very young Bette Davis, Barbara Stanwyck, Kay Francis, Joan Blondell or Jean Muir, but Dvorak lacks their obvious vulnerability and the script lacks conviction. Much of the supporting cast is wasted, but there are good moments for Tracy (especially his kind-hearted send-off of Cromwell) and Charles B. Middleton as a very assertive police sergeant. The pre-code spark is there amongst a few spicy lines but that isn't enough to make this one memorable.
While not unattractive, Dvorak didn't have traditional leading lady looks which made her perfect as the other woman, gangster's moll or scheming sister to the heroine. Photographing rather harshly, the switch of her hair color from black to blonde accentuates that even more. This is pretty much no different than the women's soap opera type films which starred such Warners contract players as the very young Bette Davis, Barbara Stanwyck, Kay Francis, Joan Blondell or Jean Muir, but Dvorak lacks their obvious vulnerability and the script lacks conviction. Much of the supporting cast is wasted, but there are good moments for Tracy (especially his kind-hearted send-off of Cromwell) and Charles B. Middleton as a very assertive police sergeant. The pre-code spark is there amongst a few spicy lines but that isn't enough to make this one memorable.
Lee Tracy Drives Hard Hitting Film
Ron Oliver14 June 2001
THE STRANGE LOVE OF MOLLY LOUVAIN pushes her to look for love with all the wrong men, leading inevitably to unwed pregnancy, betrayal & murder...
This obscure little crime film highlights the kind of fast-moving, tough-talking picture which Warner Bros. did so well in the early 1930's. Good production values help tremendously, but the biggest asset is the piston-powered performance of Lee Tracy as a cynical, amoral reporter. Although his character doesn't appear until 30 minutes into the story, once on screen he dominates his scenes, as he typically did during his heyday. This picture was made shortly before Tracy moved to MGM for his 5 memorable appearances there in 1933. His spectacular fall from grace would spin him out to the minor studios, but here he's in his prime, or nearly so.
The other two sides to the film's romantic triangle are made up of Ann Dvorak, very good in the title role, and Richard Cromwell, impressive as the innocent college kid infatuated with her. A sprinkling of character actors - Guy Kibbee, Leslie Fenton, Frank McHugh & Charles Middleton - add to the film's success.
Movie mavens will recognize J. Farrell MacDonald as a murdered cop, silent movie comic 'Snub' Pollard as a bill collector & Louise Beavers as a washroom attendant, all uncredited.
The film's rather gamey plot proclaims its pre-Production Code status.
This obscure little crime film highlights the kind of fast-moving, tough-talking picture which Warner Bros. did so well in the early 1930's. Good production values help tremendously, but the biggest asset is the piston-powered performance of Lee Tracy as a cynical, amoral reporter. Although his character doesn't appear until 30 minutes into the story, once on screen he dominates his scenes, as he typically did during his heyday. This picture was made shortly before Tracy moved to MGM for his 5 memorable appearances there in 1933. His spectacular fall from grace would spin him out to the minor studios, but here he's in his prime, or nearly so.
The other two sides to the film's romantic triangle are made up of Ann Dvorak, very good in the title role, and Richard Cromwell, impressive as the innocent college kid infatuated with her. A sprinkling of character actors - Guy Kibbee, Leslie Fenton, Frank McHugh & Charles Middleton - add to the film's success.
Movie mavens will recognize J. Farrell MacDonald as a murdered cop, silent movie comic 'Snub' Pollard as a bill collector & Louise Beavers as a washroom attendant, all uncredited.
The film's rather gamey plot proclaims its pre-Production Code status.
Lee Tracy and a bit of skin
jondaris24 April 2006
I can sum up in six words the reasons to see this movie: Lee Tracy, Lee Tracy, and Lee Tracy. He's in top form in this combination of melodrama and crime film. Unfortunately, despite some clever dialog, the plot of this pre-code is almost painful.
Molly Louvain (Ann Dvorak) is being pursued by hustler Nicky Grant(Leslie Fenton) and bellboy Jimmy Cook (Richard Cromwell), but she's preparing to marry a rich man who will take her away from a life as a cigar clerk. After being dumped by her rich boyfriend, she takes off with Grant.
Fast forward three years, and Louvain has had the rich boyfriend's baby, and Grant has gone from being a traveling salesman to a small time crook.
After a policeman is murdered, Molly finds herself hiding from the law. Complications ensue, none of which are really resolved in the end.
Dvorak wasn't much of an actress. She does the best she can with the script, which can't decide if she's a hard-boiled vamp or an innocent victim, sometimes changing direction within a scene. It's difficult to generate a lot of sympathy for Molly, since whenever she's faced with a decision, she automatically makes the worst one possible. Her best scene is one where she briefly flashes her assets while changing clothes, which may explain why her career hit the skids after the Production Code.
Fenton, Dvorak's real-life husband, is good in the role of sleazy crook Nicky Grant, the kind of role at which he excelled. Richard Cromwell's stilted, wooden delivery always drives me insane, and here is no exception.
But it's Tracy, as the journalist who is falling for Molly even as he tries to get the story of her capture, who is really the reason to see this film. He keeps the film watchable and entertaining, even through the train wreck of a script.
Molly Louvain (Ann Dvorak) is being pursued by hustler Nicky Grant(Leslie Fenton) and bellboy Jimmy Cook (Richard Cromwell), but she's preparing to marry a rich man who will take her away from a life as a cigar clerk. After being dumped by her rich boyfriend, she takes off with Grant.
Fast forward three years, and Louvain has had the rich boyfriend's baby, and Grant has gone from being a traveling salesman to a small time crook.
After a policeman is murdered, Molly finds herself hiding from the law. Complications ensue, none of which are really resolved in the end.
Dvorak wasn't much of an actress. She does the best she can with the script, which can't decide if she's a hard-boiled vamp or an innocent victim, sometimes changing direction within a scene. It's difficult to generate a lot of sympathy for Molly, since whenever she's faced with a decision, she automatically makes the worst one possible. Her best scene is one where she briefly flashes her assets while changing clothes, which may explain why her career hit the skids after the Production Code.
Fenton, Dvorak's real-life husband, is good in the role of sleazy crook Nicky Grant, the kind of role at which he excelled. Richard Cromwell's stilted, wooden delivery always drives me insane, and here is no exception.
But it's Tracy, as the journalist who is falling for Molly even as he tries to get the story of her capture, who is really the reason to see this film. He keeps the film watchable and entertaining, even through the train wreck of a script.
Three loves has Molly
jarrodmcdonald-121 February 2022
Warning: Spoilers
This is a fairly basic girl-makes-bad-choices and pays-the-price melodrama, typical of the era. It has all the requisite sin and suffering we would expect our gal to face. Watching the picture, I was trying to figure out how it would have been played by the studio's other top actresses at that time. In other words, how much gusto would Bette Davis have infused in the part; how much angst would Ruth Chatterton have brought to it; and how many fashionable hairstyles, hats and dresses would Kay Francis have modeled on screen.
But you know what? It's actually hard to imagine anyone else playing Molly other than Ann Dvorak. I've long been a fan of this actress. I have never seen a lackluster performance from her, not even in mediocre productions or thankless supporting parts. There is a unique quality about her acting, which is on full display here.
She makes an interesting transformation in the role. She spends the first fifteen minutes as a brunette; then when she winds up on the run, she dyes it platinum blonde. In a way this flashier new look works against her plan to hide out or be anonymous.
Another component of the story is that she has very distinct relationships with three different men. And in the course of these relationships, she gets to exhibit conflicting aspects of Molly's personality.
There is Jimmy the bellhop (Richard Cromwell) at a hotel where she first gets into trouble. He's incurably romantic and remains smitten with her despite what happens. He's still in love with her when he is forced to go off and live his life without her. During Molly's time with Jimmy, things are naive and sweet.
Next there is Nicky the gangster (Leslie Fenton, married to Ann Dvorak off screen). He initially makes her life exciting if not full of danger. He provides her with a diversion when her heart gets broken by an upper class man. Nicky's crimes force them on the lam, and from this point on, things are never the same. Molly's time with Nicky becomes a nightmare, a living hell.
Finally there is the fast-talking reporter named Scotty (Lee Tracy), who doesn't appear until a good twenty minutes into the movie. Scotty is a neighbor at a boardinghouse where Molly winds up after Nicky's been captured and Molly is forced into hiding. Ironically, Scotty is covering the story of the moll at large, not realizing it is her. Adding further complications is the fact that they are falling in love. Molly's time with Scotty is practical, sustaining and ultimately redeeming.
The film has a great final scene, which will leave viewers satisfied that the proper ending has been presented for Molly. Miss Dvorak has wonderful chemistry with all three of her leading men in this picture. But the interaction between her and Mr. Tracy is especially off-the-charts.
But you know what? It's actually hard to imagine anyone else playing Molly other than Ann Dvorak. I've long been a fan of this actress. I have never seen a lackluster performance from her, not even in mediocre productions or thankless supporting parts. There is a unique quality about her acting, which is on full display here.
She makes an interesting transformation in the role. She spends the first fifteen minutes as a brunette; then when she winds up on the run, she dyes it platinum blonde. In a way this flashier new look works against her plan to hide out or be anonymous.
Another component of the story is that she has very distinct relationships with three different men. And in the course of these relationships, she gets to exhibit conflicting aspects of Molly's personality.
There is Jimmy the bellhop (Richard Cromwell) at a hotel where she first gets into trouble. He's incurably romantic and remains smitten with her despite what happens. He's still in love with her when he is forced to go off and live his life without her. During Molly's time with Jimmy, things are naive and sweet.
Next there is Nicky the gangster (Leslie Fenton, married to Ann Dvorak off screen). He initially makes her life exciting if not full of danger. He provides her with a diversion when her heart gets broken by an upper class man. Nicky's crimes force them on the lam, and from this point on, things are never the same. Molly's time with Nicky becomes a nightmare, a living hell.
Finally there is the fast-talking reporter named Scotty (Lee Tracy), who doesn't appear until a good twenty minutes into the movie. Scotty is a neighbor at a boardinghouse where Molly winds up after Nicky's been captured and Molly is forced into hiding. Ironically, Scotty is covering the story of the moll at large, not realizing it is her. Adding further complications is the fact that they are falling in love. Molly's time with Scotty is practical, sustaining and ultimately redeeming.
The film has a great final scene, which will leave viewers satisfied that the proper ending has been presented for Molly. Miss Dvorak has wonderful chemistry with all three of her leading men in this picture. But the interaction between her and Mr. Tracy is especially off-the-charts.
strange love of m louvain
mossgrymk12 April 2024
This early film from Michael Curtiz has the proper amount of pre code raffishness and the usual 30s Warner Brothers feel for tawdry Americana (the venal, motor mouthed landlady, the intrusive and abrasive news hounds, the sleazy traveling stocking salesman etc) and the banter between Ann (I dare you to pronounce my last name correctly) Dvorak and Lee Tracy is fast and amusing but, in general, it's a most forgettable affair. The Mad Hungarian has not yet perfected his feel for action scenes (the police shootout is especially clunky) and the acting, beyond the two leads, is pretty poor. And I agree with a previous reviewer who requested more Frank McHugh. And you can throw in an extra slice of Guy Kibbee, as well. Solid C.
The Delectable Miss Dvorak
kidboots30 March 2011
Warning: Spoilers
Feisty Ann Dvorak first came to Hollywood as a dancer and choreographer but her dark intense beauty was such that when she broke free of the chorus line she made an immediate impact. "The Strange Love of Molly Louvain" was her first starring role - but unfortunately Lee Tracy got all the attention. Like Ann, pre-code films were his specialty and even though he didn't enter the movie until half way through he proved a huge hit with the audiences.
All the boys love Molly (Dvorak) but Molly's heart belongs to Ralph (Don Dillaway), a spineless, rich "momma's boy", who within ten minutes of the film's start, has left her flat - not only holding the baby but fleeing abroad with his mother, who doesn't think Molly is good enough for her son (the usual story). Molly also flees with Nicki (Leslie Fenton), a smooth talking lady's stocking salesman, but after a few years on the road, she is fed up with the life they lead, living on money from petty crime. Leaving her child with a kindly woman and Nick, drinking his troubles away, she becomes a dance hall hostess. She meets up with Jimmie (Richard Cromwell), a bellhop she knew from her old life, who used to have a huge crush on her and is now at University. Before too long they are involved in a police chase, thanks to Nick - the end of which has a policeman dead and Nick fighting for his life. With a new "blonde bombshell" look she and Jimmy are now on the run and run into fast talking newspaper man Scotty (Lee Tracy - who else!!)
Cromwell proves that "handsome" is not enough - you need personality!! Tracy and Dvorak have it in spades and they make a sensational team with wisecracks flying all over the place. Sparks fly - if only they had become a screen team. Tracy was definitely an asset to this rather muddled movie. The first half had plenty of action as Molly goes from cigarette girl to gangster's girl to dance hall girl to girl on the run but when she and Jimmy stop running thank goodness Lee Tracy is there to really liven up what could have become a pretty pedestrian movie..
This movie had a special significance to Ann. It was were she met husband, Leslie Fenton, and when the movie finished they eloped. Ann also composed songs in her spare time and in this movie one of them is featured - "Gold Digger Lady". She plays it on the piano, in between snatches of "When We're Alone".
Highly Recommended.
All the boys love Molly (Dvorak) but Molly's heart belongs to Ralph (Don Dillaway), a spineless, rich "momma's boy", who within ten minutes of the film's start, has left her flat - not only holding the baby but fleeing abroad with his mother, who doesn't think Molly is good enough for her son (the usual story). Molly also flees with Nicki (Leslie Fenton), a smooth talking lady's stocking salesman, but after a few years on the road, she is fed up with the life they lead, living on money from petty crime. Leaving her child with a kindly woman and Nick, drinking his troubles away, she becomes a dance hall hostess. She meets up with Jimmie (Richard Cromwell), a bellhop she knew from her old life, who used to have a huge crush on her and is now at University. Before too long they are involved in a police chase, thanks to Nick - the end of which has a policeman dead and Nick fighting for his life. With a new "blonde bombshell" look she and Jimmy are now on the run and run into fast talking newspaper man Scotty (Lee Tracy - who else!!)
Cromwell proves that "handsome" is not enough - you need personality!! Tracy and Dvorak have it in spades and they make a sensational team with wisecracks flying all over the place. Sparks fly - if only they had become a screen team. Tracy was definitely an asset to this rather muddled movie. The first half had plenty of action as Molly goes from cigarette girl to gangster's girl to dance hall girl to girl on the run but when she and Jimmy stop running thank goodness Lee Tracy is there to really liven up what could have become a pretty pedestrian movie..
This movie had a special significance to Ann. It was were she met husband, Leslie Fenton, and when the movie finished they eloped. Ann also composed songs in her spare time and in this movie one of them is featured - "Gold Digger Lady". She plays it on the piano, in between snatches of "When We're Alone".
Highly Recommended.
The perfect Warner pre-code
1930s_Time_Machine20 January 2024
What a brilliant film! If you like pre-code films that draw you in completely, if you like fast-moving melodramas that aren't overly sentimental you will love this great gritty classic from Warner Brothers.
Unlike a lot of films from this era, this is superbly directed and filmed. Michael Curtiz builds up such an amazing level of tension that you'll be sitting on the edge of your seat within ten minutes - it really is perfectly made. The acting is realistic with believable characters and even Lee Tracy, who's usually just annoying is surprisingly fabulous in this.
Our hearts sink as we continually watch the titular Molly make wrong decision after wrong decision - we can see where this is going and we're desperate to shout at the screen, out to her across time: No, don't! Ann Dvorak in a rare staring role is outstanding. Her character is not a million miles away from Miriam Hopkins' in THE STORY OF TEMPLE DRAKE but with even more credibility. In this she's as good as Barbara Stanwyck ever was in her pre-code days and it makes you wonder why she didn't become a big star. Following this picture, she eloped with Leslie Fenton who played her gangster boyfriend which wasn't in Warner's script for her, that certainly didn't help her career.
Unlike a lot of films from this era, this is superbly directed and filmed. Michael Curtiz builds up such an amazing level of tension that you'll be sitting on the edge of your seat within ten minutes - it really is perfectly made. The acting is realistic with believable characters and even Lee Tracy, who's usually just annoying is surprisingly fabulous in this.
Our hearts sink as we continually watch the titular Molly make wrong decision after wrong decision - we can see where this is going and we're desperate to shout at the screen, out to her across time: No, don't! Ann Dvorak in a rare staring role is outstanding. Her character is not a million miles away from Miriam Hopkins' in THE STORY OF TEMPLE DRAKE but with even more credibility. In this she's as good as Barbara Stanwyck ever was in her pre-code days and it makes you wonder why she didn't become a big star. Following this picture, she eloped with Leslie Fenton who played her gangster boyfriend which wasn't in Warner's script for her, that certainly didn't help her career.
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