1935, England - Rowntree chocolate make the first Kit Kat. 1935, Germany - Hitler doubles his military spending. 1935, America - Jean Harlow wears that dress! To some, the looming threat of another world war troubling. To others, even with FDR's New Deal, the end of The Depression seemed like a story told to calm children. To most however surely the event of 1935 was Jean Harlow in that slinky satin dress... indeed that slinky satin dress which gets wet.... Indeed that slinky satin dress which gets wet and for just a second slips off.
That's one memorable aspect of this film but CHINA SEAS is so much more but it's really not that obvious what that it. It's certainly not a classic and besides Miss Harlow's memorable dress, the actual story is instantly forgettable.
Clearly I'm fixated with that dress, so much so I'm reminded of Norma Shearer's even slinkier one in 1931's superb A FREE SOUL which also starred Clarke Gable. That earlier film however was a drama, it played to your emotions, it told a story and above all it made you think (and not just about Norma Shearer in that dress). CHINA SEAS however is different. It was actually conceived about the same time but Thalberg waited until the script, the perfect blend of actors and the technology were just right before making it four years after the planning. Had this bee made in 1931, even with the freedom of the pre-code era, it would not be something you'd consider watching now because unlike A FREE SOUL this isn't designed to make you think, it's designed just to entertain and Thalberg achieves this perfectly. This is exactly what MGM did - they had their high standards of course but they didn't care about making an artistic impact, they cared about making profit and they did that by making big glossy pictures which they knew would appeal to almost everyone. They were the perfect business model for the hungry '30s. Watched today somewhere at the back of your mind a mental scorecard is being ticked off: Adventure - yes. Intrigue - yes. Romance - yes etc - everything you expect is there in just the right proportions, at the exact time you expect it and all at just the right pace.
It's not one of my favourite films but made with such absolute professionalism you have to take your hat off to Mr Thalberg and indeed to Tay Garnett who directs this brilliantly.
That's one memorable aspect of this film but CHINA SEAS is so much more but it's really not that obvious what that it. It's certainly not a classic and besides Miss Harlow's memorable dress, the actual story is instantly forgettable.
Clearly I'm fixated with that dress, so much so I'm reminded of Norma Shearer's even slinkier one in 1931's superb A FREE SOUL which also starred Clarke Gable. That earlier film however was a drama, it played to your emotions, it told a story and above all it made you think (and not just about Norma Shearer in that dress). CHINA SEAS however is different. It was actually conceived about the same time but Thalberg waited until the script, the perfect blend of actors and the technology were just right before making it four years after the planning. Had this bee made in 1931, even with the freedom of the pre-code era, it would not be something you'd consider watching now because unlike A FREE SOUL this isn't designed to make you think, it's designed just to entertain and Thalberg achieves this perfectly. This is exactly what MGM did - they had their high standards of course but they didn't care about making an artistic impact, they cared about making profit and they did that by making big glossy pictures which they knew would appeal to almost everyone. They were the perfect business model for the hungry '30s. Watched today somewhere at the back of your mind a mental scorecard is being ticked off: Adventure - yes. Intrigue - yes. Romance - yes etc - everything you expect is there in just the right proportions, at the exact time you expect it and all at just the right pace.
It's not one of my favourite films but made with such absolute professionalism you have to take your hat off to Mr Thalberg and indeed to Tay Garnett who directs this brilliantly.