Saturday Night Cinema: Of Human Bondage

human bondage
Tonight’s Saturday Night Cinema is the first and best of three Hollywood adaptions of W. Somerset Maugham’s gut-wrenching Of Human Bondage (1934). Bette Davis as the vicious object of Leslie’ Howard’s affections is unforgettable: cruel and unworthy of such love — but then, aren’t  most of us?

It’s Valentine’s Day weekend — Of Human Bondage seems perfectly suited for such a moment.

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Of Human Bondage (1934): Leslie Howard and Bette Davis in a Picturization of W. Somerset Maugham’s Novel ‘Of Human Bondage.’

By MORDAUNT HALL. Published: June 29, 1934

 If one did not remember Leslie Howard’s clever acting in “Outward Bound” and “Berkeley Square,” one might be tempted to say that his portrait of Philip Carey, in this current Radio City Music Hall feature, excels any performance he has given before the camera. No more expert illustration of getting under the skin of the character has been done in motion pictures. Mr. Howard suffers seemingly all the woe and cheer experienced by Carey.

Another enormously effective portrayal is that of Bette Davis as Mildred Rogers, the waitress who continually accepts Carey’s generosity and hospitality and reveals herself as a heartless little ingrate. In a climactic episode, which recalls an incident in Kipling’s “The Light That Failed,” this sorry specimen of humanity slashes Carey’s efforts at art, destroys his medical books and furniture and, in the film, even burns his bonds and private papers, leaving the apartment as though it had been struck by a tornado.

At the first showing yesterday of this picture the audience was so wrought up over the conduct of this vixen that when Carey finally expressed his contempt for Mildred’s behavior applause was heard from all sides. There was a further outburst of applause when the film came to an end.

John Cromwell, the director, has given many a subtle and imaginative touch to his scenes. Now and again he makes use of staccato bits of music to emphasize Carey’s clubfoot limp. It is pathetic, but strong, to observe this young man, always aware of his affliction. He studies painting in Paris, but is soon discouraged and eventually goes in for medicine and does not prove to be as bright as the majority of his colleagues.

It is genuinely affecting when Carey encounters old Athelny, a generous but odd individual, who when Carey is penniless not only invites the young man to stay at his house, but insists on his invitation being accepted. By that time Carey has elicited much sympathy, and therefore it is somewhat of a relief to see him in a home. One has more than a vague notion that Athelny’s attractive daughter, Sally, will eventually become Mrs. Carey.

There is nothing stereotyped about this film, and even the closing scenes are set forth with a pleasing naturalness and a note of cheer. Just as Mr. Howard and Miss Davis submerge their own personalities in those of the parts they act, so does Reginald Owen, who appears as Athelny. Mr. Owen keeps within rational bounds in his portrayal, but nevertheless by his speech and actions causes Athelny to stand out. Frances Dee is charming as Sally, and Alan Dale does well as Mildred’s first lover. Reginald Denny guffaws a little too much, but he otherwise does quite well by the part of the double-faced Griffiths, who is the father of Mildred’s child. Kay Johnson gives an intelligent performance as Nora, a writer in whom Carey becomes interested after Mildred goes away, apparently to get married.

Russell Markert’s stage production at the Radio City Music Hall is known as “The Magazine Rack.” The performers include Michael Bartlett and Margaret Daum, the Giersdorf sisters, the Jansleys, Felicia Sorel, Demetrios Vilas and the Rockettes.

OF HUMAN BONDAGE, adapted from Somerset Maugham’s novel; directed by John Cromwell; an RKO Radio production. At the Radio City Music Hall.
Philip Carey . . . . . Leslie Howard
Mildred Rogers . . . . . Bette Davis
Sally Athelny . . . . . Frances Dee
Nora . . . . . Kay Johnson
Griffiths . . . . . Reginald Denny
Emil Miller . . . . . Alan Hale
Mr. Athelny . . . . . Reginald Owen
Dunsford . . . . . Reginald Sheffield
Dr. Jacobs . . . . . Desmond Roberts

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