This film (TWMA) is a virtual remake of the 1932 classic romantic fantasy One Way Passage (OWP). While TWMA introduces some new characters, the story line of both films is essentially the same. Only one actor (Frank McHugh) appeared in a similar role in both films, although he had a different name in each one. The films had different directors, but shared four common lead roles--played by eight different actors. Because of that, it is interesting to compare and contrast these performances with each other, as well as the work the two directors brought to their respective film.
Dan Hardesty (William Powell v. George Brent). Powell was one of the greatest screen personalities to ever work in Hollywood. He had a career that spanned the silent film period through the post WWII era, and included performances that ran from villains to sophisticated comedy. Powell was well known for his charm and debonair manner, and appeared with many of the the most celebrated movie stars of his time. While he was not a particularly animated screen performer, Powell would seem like Spencer Tracy when compared with George Brent. Brent may have been one of the most passive and bland actors to ever achieve leading man status in the movies. Dan Hardesty was one of Powell's most important early sound era roles, and he shines in it.
Joan Ames (Kay Francis v. Merle Oberon). Francis was a very popular film performer in the 1930s. She was tall and vibrant looking----an unfortunate combination of physical attributes to appear as representations of a dying woman. Francis also had a somewhat limited range as an actor, and this further affected the credibility of her role. On the other hand, Oberon was small and petite---and was quite believable as the long suffering vulnerable doomed heroine. She also could draw from a deeper well of emotions than Francis was able to do. It is unfortunate that circumstances prevented Powell and Oberon from co-starring in either film.
"The Countess" (Aline MacMahon v. Binnie Barnes). In the early 1930s, MacMahon was an attractive woman in her mid-thirties with an earthy sexuality that was quite appealing. Those who are only familiar with her later films may know MacMahon as an overweight frumpy middle aged character actor. It is quite a revelation to see her youthful and exciting work in OWP as well as her obvious physical charms. Barnes was a fairly routine actor who seldom made much of an impression on the screen. Her appearance and acting skills were both somewhat ordinary and undistinguished. But MacMahon was something else---very special.
Steve Burke (Warren Hymer v. Pat O'Brien). Hymer was one of several Warner Brothers contract players who specialized in appearing as foolish or nitwit-type supporting characters. Occasionally---like in OWP---Hymer was given an assignment that allowed him to bring to it some additional nuance and substance. However, O'Brien was a major star, whose resume included some leading man parts (e.g. Knute Rockne, All American). He created a deeper and more meaningful impression than Hymer as the cop who must bring Dan Hardesty back to San Quentin and his ultimate fate---and made TWMA a much better movie as a result of his effort.
Director (Tay Garnett v. Edmund Goulding). OWP was an early sound film, and it reflects the technical limitations on the creative process that were imposed on even talented younger directors like Garnett (China Seas, Trade Winds, The Postman Always Rings Twice, etc.). Goulding was an older veteran director with perhaps more impressive and consistent accomplishments than Garnett (Grand Hotel, The Old Maid, The Razor's Edge, etc.). The camera work on TWMA is more accomplished than that of OWP, but that may be more an example of the technical progress of movie photography from 1932 to 1940 than anything else.
TWMA is a respectable sequel to an early sound classic, and both are worthy of your attention and enjoyment.
Dan Hardesty (William Powell v. George Brent). Powell was one of the greatest screen personalities to ever work in Hollywood. He had a career that spanned the silent film period through the post WWII era, and included performances that ran from villains to sophisticated comedy. Powell was well known for his charm and debonair manner, and appeared with many of the the most celebrated movie stars of his time. While he was not a particularly animated screen performer, Powell would seem like Spencer Tracy when compared with George Brent. Brent may have been one of the most passive and bland actors to ever achieve leading man status in the movies. Dan Hardesty was one of Powell's most important early sound era roles, and he shines in it.
Joan Ames (Kay Francis v. Merle Oberon). Francis was a very popular film performer in the 1930s. She was tall and vibrant looking----an unfortunate combination of physical attributes to appear as representations of a dying woman. Francis also had a somewhat limited range as an actor, and this further affected the credibility of her role. On the other hand, Oberon was small and petite---and was quite believable as the long suffering vulnerable doomed heroine. She also could draw from a deeper well of emotions than Francis was able to do. It is unfortunate that circumstances prevented Powell and Oberon from co-starring in either film.
"The Countess" (Aline MacMahon v. Binnie Barnes). In the early 1930s, MacMahon was an attractive woman in her mid-thirties with an earthy sexuality that was quite appealing. Those who are only familiar with her later films may know MacMahon as an overweight frumpy middle aged character actor. It is quite a revelation to see her youthful and exciting work in OWP as well as her obvious physical charms. Barnes was a fairly routine actor who seldom made much of an impression on the screen. Her appearance and acting skills were both somewhat ordinary and undistinguished. But MacMahon was something else---very special.
Steve Burke (Warren Hymer v. Pat O'Brien). Hymer was one of several Warner Brothers contract players who specialized in appearing as foolish or nitwit-type supporting characters. Occasionally---like in OWP---Hymer was given an assignment that allowed him to bring to it some additional nuance and substance. However, O'Brien was a major star, whose resume included some leading man parts (e.g. Knute Rockne, All American). He created a deeper and more meaningful impression than Hymer as the cop who must bring Dan Hardesty back to San Quentin and his ultimate fate---and made TWMA a much better movie as a result of his effort.
Director (Tay Garnett v. Edmund Goulding). OWP was an early sound film, and it reflects the technical limitations on the creative process that were imposed on even talented younger directors like Garnett (China Seas, Trade Winds, The Postman Always Rings Twice, etc.). Goulding was an older veteran director with perhaps more impressive and consistent accomplishments than Garnett (Grand Hotel, The Old Maid, The Razor's Edge, etc.). The camera work on TWMA is more accomplished than that of OWP, but that may be more an example of the technical progress of movie photography from 1932 to 1940 than anything else.
TWMA is a respectable sequel to an early sound classic, and both are worthy of your attention and enjoyment.