Nellie Rimplegar has to tell her grown children that due to her bungled handling of their finances, the family has been wiped out by the Stock Market crash. Friend and family doctor, Alan ... See full summary »
Four passengers escape their bubonic plague-infested ship and land on the coast of a wild jungle. In order to reach safety they have to trek through the jungle, facing wild animals and attacks by primitive tribesmen.
Cecil B. DeMille
Sally Trent has an illegitimate child, but cannot support her and gives the baby up for adoption. The father, Michael Gardner, leaves for China not knowing about the baby, and she assumes he has abandoned her for life. She gets a job as a torch singer, changes her name to Mimi Benton, and becomes notorious for her drinking and philadering. Mimi fills in on a children's radio program as the character "Aunt Jenny," singing and telling bedtime stories, and eventually uses the airtime to find her long lost daughter, part with her wild lifestyle, and reunite with Michael.Written by
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. Because of sponsor resistance to its age and depression themed pre-code aspects of its story, it was rarely taken off the shelf. Two of its earliest documented airings took place in Hartford, Connecticut Saturday 21 October 1961 on Gems of the Silver Screen on WHCT (Channel 18) and in Indianapolis, Indiana Tuesday 19 December 1961 on Mid-Day Matinee on WFBM (Channel 6). It was released on DVD 7 April 2009 as part of the Universal Backlot Series: Pre-Code Hollywood Collection, and again as a single 5 August 2014 as part of the Universal Vault Series. See more »
[to baby daughter]
Maybe... maybe you'll take a mother's advice before she goes. You might as well. That's the only thing she's got to give. Don't ever let any man make a sucker out of you. Make him know what you're worth. Anything they get for nothing is always cheap.
See more »
Music by Ralph Rainger
Lyric by Leo Robin
Published sheet music in connection with this movie, possibly played as background music See more »
Colbert is great, the movie a clumsy production (there were even two directors)
Torch Singer (1933)
A hobbled movie if you expect something naturalistic and moving, but Claudette Colbert is so convincing and terrific she almost compensates. A Depression-era tale of an affair that produced a baby, and then the mother having to struggle alone trying and failing to raise it. It takes off from there, as Colbert as the mother makes good with her life in other ways. The baby of course is still in the back of her mind, and causes a couple of dramatic twists later on.
The plot is a huge contrivance, and so you have to jump in and see it as a kind of morality tale, packaged a little too neatly and with some comic and tragic episodes almost too forcefully inserted. It's all interesting and fun, though, and Colbert really is a versatile and heartfelt actress here.
The one thing she may not do so well for modern audiences is sing so well, and as the title suggests, this is a key part of the middle of the movie. The orchestras are great, and the parade of side characters rather convincing as we go along, however. The sudden reappearance of the father, and the rather neat coincidences that follow, were way too much for me to swallow, however, especially the patched-on ten second last scene, which could have at least had some honest drama to it. You'll see.
It's probably the ending most people wanted to see, however, and a justification of what had happened earlier (all of which is a kind of taboo just a year later when the Hays Code would have made an out-of-wedlock birth a more serious offense). I think it's handled here in a believable way, however, at first, so thank goodness it was finished before the artifice of the later 1930s took over these kinds of themes.
The movie also has some nice (if neatly packaged) insights to the crude beginnings of commercial radio, which was always live, and which amounted to some people standing in front of a microphone. This was much like television was in its first years after WWII, with live broadcasts the necessity. And Colbert sings her own songs in this movie, for better or for worse. A total period effort, in tone and in content.
3 of 7 people found this review helpful.
Was this review helpful to you?
| Report this