SERIOUSLY. This is what the crap Hollywood still puts out?

Lack of good storyline.

After playing with our expectations, this turns out to be a very different sort of film.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Rise and fall pictures were very popular in the 1930s. I mean films depicting the rise and fall of leading characters like Susan Lennox or Anna Karenina or Mata Hari or Tom Powers or Little Caesar. But even more popular were the Rise and fall and rise again brigade of which this is a top example. It has the benefit of an especially strong script. I must admit, though, that I'm a sucker for films with a theatrical setting. And when that theatrical background is as atmospherically created as it is here, then I take my hat off to all the artists involved, starting off with the director, the photographer, the orchestra, the production designer et al, and going right through to the associate producer. Mervyn LeRoy's direction was generally geared to a far more inventive style at Warner Bros than in his staid years at MGM. Here I heartily commend his naturalistic use of on-stage dialogue to complement the back-stage action and I love the idea of showing the blackmailer (Barton MacLane) in silhouette. LeRoy's handling of the many crowd scenes is equally as deft as his depiction of the picture's more intimate moments, and he sent me to seventh heaven with his brilliant contrasts of theaters high and low, legitimate to burlesque, Broadway to Skid Row. Kay Francis gives the performance of her career. Stella Parish enables her to encompass not only a wide range of emotions but a broad range of acting styles. I'm pleased to report that she is more than equal to the challenge. She brings off the many-faceted Stella with such panache and perfection, it's a shame she was not able to share this aspect of her talent with similar wide-ranging roles on other occasions. In the course of this picture, we see her as a gracious yet aloof leading lady, and as a sensitively romantic heroine, and in a mind-blowing character role. Plus her totally realistic portrayals of the various roles she enacts on stage. Ian Hunter too rises to the heights with a more rewarding part than usual. Almost always he plays uninterestingly stuffy, self-righteous characters, but here he's cast in what must be the only totally unsympathetic role of his career. He conveys with great insight the coldness, heartlessness, ruthlessness and deceitful hypocrisy of his Keith Lockridge. On the other hand, Paul Lukas has only a small part to play-which is just as well. At best, he's no more than adequate and makes no attempt whatever to grasp his dramatic opportunities. Despite Lukas, however, this movie still rates 100% in my book!

I can't wait to be forgotten, Kay Francis once said, and as it inches closer to the 50th anniversary of her death, she is about as forgotten as another great star who also died the same year: Judy Garland. Only three years later, Liza Minnelli exclaimed in "Cabaret", "I feel just like Kay Francis!" It took decades for her re- discovery, but she has gained a true cult following as her glamorous image was captured by two books and constant showings of her movies on TCM. During the VHS era, only a handful of her films were available. Now through the TCM and Universal archives, they are slowly all coming out, and this soap opera is one of her best.As the Tallulah Bankhead of the fictional London stage, Stella Parrish is an American actress who is highly in demand, winning the love of her manager, Paul Lukas, and gaining the admiration from afar of journalist Ian Hunter. When she is visited by a mysterious man on opening night of what could be her greatest hit, Stella vanishes with her young daughter and companion, hiding in disguise and eventually befriending the suspicious Hunter. When the truth comes out, she becomes a temporary headline freak and makes a drastic decision to protect the young moppet, Sybil Jason.Francis shares the acting honors with vinegary Jessie Ralph, delightful as her tough but loving companion. Lukas and Hunter are decent, and while Jason can be cloying at times, something tells me that she had the women's audiences in tears. In fact, the film opens with Jason singing a cute little ditty imitating animal sounds that either had the audiences in hysterics, cooing over how adorable she was, or cringing over how cute they assumed she thought that she was. The play within the movie is set in Caligula's Rome and was almost concurrent with the unfinished "I Claudius". Unbilled Barton MacLane's voice is heard as the unseen mysterious man but instantly recognized. Certainly, there are some plot defects, but that doesn't seem to matter under Kay's emotional performance and the direction of Mervyn LeRoy. This was a huge smash for Kay, only surpassed just two years later by the emotional brilliance of " Confession". While some audiences might find it hard to believe that Kay could be considered a great star of the stage, that's exactly where she got her training and exactly where she returned to when her film career began to dry up. The conclusion has the emotional power of Vicki Lester's final line in "A Star is Born".

First: Let's begin with a quote from "Midnight Mass," an unpublished poem of mine (all rights reserved): (sorrry for the /s - there is a space limit here, and I have still more to say) - "What would the ancients have thought,/seeing the porcine wavering supports/of Saint Peter's canopy?//The seduction of Babylonia?/The wail of the Pharoahs?/The shimmy-shimmy of the two-buck dancer/caught on celluloid in '33, before the Code?//Sex and idolatry,/purple protuberances massing to the sky/are not what TV sees,/whether panning to the flowers in English,/or in Spanish mooning the faithful.//Both handed the lie by those serpentine columns, who say not truth not science,/but Hollywood excess begins here—/name dropping,/and the eternal celebrity of sainthood.//Though stars and saints come and go:/dropping from the firmament/like Kay Francis or St. Christopher."Now isn't that a fine way to capture how Bette and Joan live and Kay doesn't? Life is inherently unfair and Kay knew it, always knew it, and in every performance knew that she was only as good as her last sale, and that there would be a last sale. No NE flinty will-to-survive like Bette, or pure white-trash-cum-French-(don't forget LeSueur) glamour like Joan: no Kay was always pure "noble glamour," and always with the understanding that while nobility is eternal, glamour almost always passes with youth (that's why Joan is so pathetic, she willed her glamour to survive, and paid a ghastly price for it), especially for a woman, as her hips widen no matter what she does, and she slowly pirouettes into middle age and and the inevitable desuetude of barrenness. (Oh and Ruth Chatterton needs a place, too, but not here.)I like to think of Kay in the 1960s, her 60s too, as she faced her imminent young death (63 is young to me) from too many cigarettes and neglect. Was she able to rewatch her glamour-turns from the pre-code era, especially, "Trouble in Paradise," with her perfect American foil of Marian Hopkins? So that Americans could compare and contrast nobility with commercial will-to-live (yes Marian does the NE better than Bette, but that's another review)?In the end, nobility must reconcile with commercial survival, as the Italians learned so difficultly (but they have learned it, yea!). And Kay always knew that, was always commercial in her nobility, but she couldn't stop her own aging, nor could she stop the changing mores of that "low dishonest decade," where the Democrats, with their new power, enforced their own version of 1930s fascism on American popular culture.So if the other critics are right, and this is the first (and last?) Kay Francis hit "post-code," then the plot makes perfect sense, but I am not going to give any spoilers.I never watch Robert Osborne's intros until after the movie is over, where he sometimes gives a coda as well. He does both with this movie, and he makes fun of it in both the intro and coda as only "rich liberals" can do, which you know Osborne is(though not so rich I would guess, but in his 80s, he has enough to keep him going, so who cares?). So diss him here. And while I agree that Kay could have had a more butch male interest, Ian Hunter has enough "male beauty" to make her attraction believable, especially in the one scene where he briefly shows up in two-toned (with one tone white) shoes - I am sure there is a name for these 30s-specials (are they still called spectators when men wear them?), but anyway, he functions as a classy Brit silly enough to fall in love with an aging star.For Kay is aging - now 30, which for a woman in the aptly named decade, meant she was approaching the third movement of the "Mary Astor dance" ("Who is Mary Astory? Get me Mary Astor. Get me a Mary Astor type. Who was Mary Astor?"). She knows 1937 is coming, and she knows she won't get to say, in 1950, "I am big. It's the pictures that got small," because her story is more complicated than Gloria Swanson's - that quintessential Protestant girl gone big time, where she could always argue she hadn't gone bad (in the best Protestant female-empowering dialectic).Swanson had no time for nobility - there was too much life to be lived, and she knew that in la coda nobilitas (someone check my Latin here, I'm winging it), la dama always gets screwed in the end. And maybe la dama wants it - vagina dentata and all that for some more Latin. Who knows, who cares? maybe in another life I will be that sex, but now I just do it. So while Swanson deserves her immortality, with her apotheosis being Sunset Boulevard (every scene memorized, trust me, and I too, always wanted a swimming pool- still not there yet), Francis needs to break into 21st-century post-modern popular culture, because she taught Americans the lesson, now lost, about Roman Catholic nobility.Another review will need to riff on that theme, for IMDb is shutting me down, but let's end where I began - I cried like a baby, the plot is believable, and while not as great as her pre-code movies, this is a great movie, better than anything Bette or Joan ever did, and another example of why Kay needs to get her long overdue place in the pantheon.

For KAY FRANCIS admirers, I suppose this one is one of their favorite vehicles. She gets a stunning wardrobe and close-ups to die for. But unfortunately, even Mervyn LeRoy's direction and Orry-Kelly's wardrobe and Casey Robinson's script can't bring reality to the mawkish story.She's a stage actress with a gilded reputation, but she's hiding her past transgressions in order to protect her child (SYBIL JASON). Improbably, IAN HUNTER is a reporter who's so anxious to get the inside scoop on where she has fled to, that he goes to extreme lengths to discover her whereabouts. Naturally, they fall in love and he has to confess that he's the journalist who spilled her story to the press.At this point, the plot forgets about reality and sinks into soap suds until the bitter end. It's typical slush for Miss Francis, who suffers and suffers until that magical moment when everything is coming up roses for the last reel.Forget about it.