***SPOILERS*** ***SPOILERS*** One has to really stretch the imagination to swallow the story here. Kay Francis is a glamorous (of course) baby doctor, who much to her sorrow, is unable to conceive. Her full-of-himself husband (Warren William) always sporting a mindless grin, has planted his seed elsewhere in much more fertile territory (poor, hapless Jean Muir). When Warren leaves for a European jaunt the two women console each other . . . until. Well, fortunately, Veree Teasdale is around for comic relief and catty reparte. It's a fun script and good performances by all. The ending is hard to swallow, but for 1934 audiences (this was released just before the big bad CODE) this was heavy-duty stuff experienced by those adventuresome cosmopolitan types. The fade out has happy Kay with her big dopey, hasn't-a-clue husband, holding his b**tard child.
14 Reviews
Censor Joe Breen probably stole two stars off my rating...
AlsExGal22 August 2012
...by pressuring Warner Brothers to cut this film so badly. He referred to the three main female characters as "a lesbian, a nymphomaniac, and a prostitute". I find this very confusing. None of the women in this film are wearing trousers (I'm not casting stereotypes here - see The Office Wife for reference), nor are any of the women committed to more than one man - in fact two of them love the same man, and none of them seem to be doing "the deed" for money. I can only imagine that whenever he was confronted with images on film of an unconventional nature, that the top of old Joe's head came off and he started spouting nonsense. But I digress.
At a short 53 minutes this is a film about Dr. Monica Braden (Kay Francis), a woman who delivers babies for a living but is physically unable to have her own and desperately wants to, her husband John (Warren William) who has a short affair with an acquaintance (Jean Muir) but ends it when he realizes he really loves Monica, with a healthy dose of friendship thrown in for Monica in the person of Teasdale's character. Dr. Monica becomes the physician of the girl having her husband's baby not knowing the situation. Complications ensue.
The cutting on this film is so stark that you can actually see where the abortion would have been discussed. Jean Muir's character has just learned her condition, starts to say something - never does, and then the film cuts to Dr. Monica telling her sternly "don't even think that! Ever!". Plus, Warren William is practically neutered in this film. If you're familiar with his work, you know Warren William usually was the fast-talking cad in a multitude of Warner precodes who was second fiddle to none. Unfortunately, here he is barely fourth fiddle.
If I seem like I'm being hard on this film it's mainly the screenplay to which I object. Both Muir and Francis are natural, strong, and vulnerable in their roles depending upon what is needed in any given scene. Teasdale doesn't get to do much, but she adds a level head to a situation that desperately needs one. As with all of Kay's WB films this one boasts a lovely score and has a few wonderful seemingly untouched scenes, such as the one where Dr. Braden and her husband are enjoying a sunset together at the end of their vacation - she understands the significance of the occasion (a last time together, as she wants to step aside so John can be a father to his child), he does not (He doesn't even know he's a father).
Recommended for hard core fans of Francis, but do be prepared to feel like you've been rushed through an incomplete story, because you have been.
At a short 53 minutes this is a film about Dr. Monica Braden (Kay Francis), a woman who delivers babies for a living but is physically unable to have her own and desperately wants to, her husband John (Warren William) who has a short affair with an acquaintance (Jean Muir) but ends it when he realizes he really loves Monica, with a healthy dose of friendship thrown in for Monica in the person of Teasdale's character. Dr. Monica becomes the physician of the girl having her husband's baby not knowing the situation. Complications ensue.
The cutting on this film is so stark that you can actually see where the abortion would have been discussed. Jean Muir's character has just learned her condition, starts to say something - never does, and then the film cuts to Dr. Monica telling her sternly "don't even think that! Ever!". Plus, Warren William is practically neutered in this film. If you're familiar with his work, you know Warren William usually was the fast-talking cad in a multitude of Warner precodes who was second fiddle to none. Unfortunately, here he is barely fourth fiddle.
If I seem like I'm being hard on this film it's mainly the screenplay to which I object. Both Muir and Francis are natural, strong, and vulnerable in their roles depending upon what is needed in any given scene. Teasdale doesn't get to do much, but she adds a level head to a situation that desperately needs one. As with all of Kay's WB films this one boasts a lovely score and has a few wonderful seemingly untouched scenes, such as the one where Dr. Braden and her husband are enjoying a sunset together at the end of their vacation - she understands the significance of the occasion (a last time together, as she wants to step aside so John can be a father to his child), he does not (He doesn't even know he's a father).
Recommended for hard core fans of Francis, but do be prepared to feel like you've been rushed through an incomplete story, because you have been.
Production code does its dirty work to this one...
cluciano6328 September 2012
Warning: Spoilers
It is predictable in that the fallen woman, i.e. the mistress of the married man (Dr. Monica's husband) has to pay the ultimate price for having sex, basically. A woman was not allowed to live once she had premarital sex, unless she opted for a nunnery; that was the only variation on the theme.
Kay Francis as Dr. Monica is her usual stalwart self; suffering expressions, well-dressed, etc...Warren William has the lousy luck to play the wimp of a cheating husband. I usually enjoy him so much, but not here.
But the sacrificial speech made by Monica is too much...she is willing to hand her husband over to his mistress in exchange for two weeks of love with him first.
But don't worry, the code won't allow that anyway. Husband and wife must remain together, whether they want to or not, And of course, the biggest rule in these movies is that the husband must be lied to, all the time. He must never know what he has wrought...he must get to have everything, a wife, a baby who he is really his, even if he doesn't know it, and peace of mind.
Watching this film 80 years after it was made feels like watching some sort of science fiction...it is such an unbelievable plot.
Kay Francis as Dr. Monica is her usual stalwart self; suffering expressions, well-dressed, etc...Warren William has the lousy luck to play the wimp of a cheating husband. I usually enjoy him so much, but not here.
But the sacrificial speech made by Monica is too much...she is willing to hand her husband over to his mistress in exchange for two weeks of love with him first.
But don't worry, the code won't allow that anyway. Husband and wife must remain together, whether they want to or not, And of course, the biggest rule in these movies is that the husband must be lied to, all the time. He must never know what he has wrought...he must get to have everything, a wife, a baby who he is really his, even if he doesn't know it, and peace of mind.
Watching this film 80 years after it was made feels like watching some sort of science fiction...it is such an unbelievable plot.
Pre-Code Fans Will Want to Watch
Michael_Elliott21 August 2012
Dr. Monica (1934)
** 1/2 (out of 4)
Decent but somewhat dimwitted melodrama from Warner about a good hearted doctor (Kay Francis) who can't have children of her own but soon learns that her husband (Warren William) has been sleeping with her best friend (Jean Muir) and has also gotten her pregnant. Quite a story for a film from 1934 but sadly this thing only runs 53-minutes and apparently it had around fifteen-minutes cut out of it either before or during its original release. I'm not certain if the uncut version will ever show up but I was surprised to see how much was left intact from the cheating husband, a non-married pregnant woman and there's even a quick mention about an abortion. I have a hard time really judging this film since so much of it was cut out and perhaps some of the issues I had with it were better served in the uncut version. With that said, the biggest problem I had was how stupid the characters were. I'm not going to give away any of the major plot points but I will say that I found the two female characters to be incredibly silly. This is especially true of the "friend" as I found her so annoying that I couldn't connect with her story. The wife/doctor was so forgiving that I had a hard time caring for her either. The film does feature three good performances from the leads as all of them fit their roles nicely. The performances certainly help the weak material overcome some of its issues but DR. MONICA doesn't quite reach the level it should. Still, fans of pre-code films should want to check this one out even in its cut form.
** 1/2 (out of 4)
Decent but somewhat dimwitted melodrama from Warner about a good hearted doctor (Kay Francis) who can't have children of her own but soon learns that her husband (Warren William) has been sleeping with her best friend (Jean Muir) and has also gotten her pregnant. Quite a story for a film from 1934 but sadly this thing only runs 53-minutes and apparently it had around fifteen-minutes cut out of it either before or during its original release. I'm not certain if the uncut version will ever show up but I was surprised to see how much was left intact from the cheating husband, a non-married pregnant woman and there's even a quick mention about an abortion. I have a hard time really judging this film since so much of it was cut out and perhaps some of the issues I had with it were better served in the uncut version. With that said, the biggest problem I had was how stupid the characters were. I'm not going to give away any of the major plot points but I will say that I found the two female characters to be incredibly silly. This is especially true of the "friend" as I found her so annoying that I couldn't connect with her story. The wife/doctor was so forgiving that I had a hard time caring for her either. The film does feature three good performances from the leads as all of them fit their roles nicely. The performances certainly help the weak material overcome some of its issues but DR. MONICA doesn't quite reach the level it should. Still, fans of pre-code films should want to check this one out even in its cut form.
Must have just snuck in under the Hays Code deadline
marcslope22 August 2012
Warning: Spoilers
Pretty racy stuff for 1934, where Dr. Kay Francis, who's barren, discovers that her husband, Warren William, fathered a child with her best friend, an aviatrix. That's one interesting thing about this programmer--for 1934, the female characters are fantastically accomplished, physician, pilot, architect. And the movie's downright blunt about motivations, with William clearly besotted with Jean Muir but also in love with his wife, and the doc showing no moral conflict with both treating the unwed mother and making her feel good about herself. The other interesting thing is how sexist the morality is: The aviatrix has to kill herself to win moral redemption in this universe, while William, who never finds out he's the child's father, gets to live happily ever after with his wife, who takes the baby as her own. He's totally forgiven, and she's sacrificed. Sheesh.
what woman behaves this way?
blanche-222 August 2012
Kay Francis is successful Dr. Monica Braden, married and madly in love with John Braden (Warren William). Her big sorrow is that she can't conceive, and we learn as the film goes along that she will never be able to conceive. The film opens at a gathering, and we find out fairly quickly that John was having an affair with Mary Hathaway (Jean Muir), but he broke it off. He tells her to forget him.
Monica and Mary are friends, and Mary has fainting spells - which in old movies could mean only one thing. Never stated, however. Pregnant. Not only that, but she never looked pregnant. Monica promises to help Mary every step of the way. And she does, until she finds out that the baby is her husband's.
This is dated and preposterous. Was Dr. Monica trying to be a candidate for sainthood? Kay is glamorous, and there's a nice performance from Verree Teasdale.
Precode and a typical Kay Francis melodrama. I don't know of any woman who would behave as she did, pre or post-code.
Monica and Mary are friends, and Mary has fainting spells - which in old movies could mean only one thing. Never stated, however. Pregnant. Not only that, but she never looked pregnant. Monica promises to help Mary every step of the way. And she does, until she finds out that the baby is her husband's.
This is dated and preposterous. Was Dr. Monica trying to be a candidate for sainthood? Kay is glamorous, and there's a nice performance from Verree Teasdale.
Precode and a typical Kay Francis melodrama. I don't know of any woman who would behave as she did, pre or post-code.
Sophisticated Cast
AndyWood-197317 June 2020
"Doctor Monica" (1934) was one of the very last precode movies, released by Warner Brothers just ten days before the chopper fell down on Hollywood.
Based on a Polish play it stars the very sophisticated Kay Francis as the successful surgeon, Dr Monica Braden.
She is unable to have children but alas, her philandering but suave husband, John (Warren William) is most definitely not shooting blanks as we find out when Monica's close friend, Mary Hathaway (Jean Muir) faints at a party. Tests prove that the unmarried young woman has "one in the oven" so to speak and never one to pry or judge, Monica helps to secure her a place in a country clinic to see out her pregnancy away from the frowning eyes of her townsfolk.
The two share a mutual friend in Anna Littlefield (Verree Teasdale) who is the first to find out that the elusive father of the unborn child is none other than the husband of the blissfully unaware Dr Monica!
John is away on business and also has no clue as to the results of his adultery when Mary goes into labour.
Already finding her imminent baby delivering duties painful in light of a recent very negative phone call from a fertility specialist, Monica is suddenly plunged into personal, emotional and moral turmoil when she overhears a phone call revealing that her husband is the sire of the soon to be born illegitimate child.
Decisions decisions decisions!!
A very well acted drama by all involved. Kay Francis is the picture of class and elegance and the brilliant Warren William manages once again to be very likeable despite playing a scoundrel. It's also interesting to see him in one of only two films (the other being as Julius Caesar in his previous film, "Cleopatra") in which he doesn't sport his trademark moustache.
Based on a Polish play it stars the very sophisticated Kay Francis as the successful surgeon, Dr Monica Braden.
She is unable to have children but alas, her philandering but suave husband, John (Warren William) is most definitely not shooting blanks as we find out when Monica's close friend, Mary Hathaway (Jean Muir) faints at a party. Tests prove that the unmarried young woman has "one in the oven" so to speak and never one to pry or judge, Monica helps to secure her a place in a country clinic to see out her pregnancy away from the frowning eyes of her townsfolk.
The two share a mutual friend in Anna Littlefield (Verree Teasdale) who is the first to find out that the elusive father of the unborn child is none other than the husband of the blissfully unaware Dr Monica!
John is away on business and also has no clue as to the results of his adultery when Mary goes into labour.
Already finding her imminent baby delivering duties painful in light of a recent very negative phone call from a fertility specialist, Monica is suddenly plunged into personal, emotional and moral turmoil when she overhears a phone call revealing that her husband is the sire of the soon to be born illegitimate child.
Decisions decisions decisions!!
A very well acted drama by all involved. Kay Francis is the picture of class and elegance and the brilliant Warren William manages once again to be very likeable despite playing a scoundrel. It's also interesting to see him in one of only two films (the other being as Julius Caesar in his previous film, "Cleopatra") in which he doesn't sport his trademark moustache.
A great poster that I could see on Leslie Charleson's dressing room wall!
mark.waltz15 August 2018
Warning: Spoilers
Having started watching "General Hospital" in 1979, I found instantly that my favorite characters were not the teen heartthrobs of the time (Laura and Scotty) but the more adult pairing of Drs. Alan and Monica Quartermain, "the Bickersons" as they would later be called, and Leslie Charleson quickly became my first favorite soap leading lady. As the "Dr. Monica" of "General Hospital", she was a very well respected cardiologist, having an affair with the husband of another doctor (Lesley Webber) and pretending that the child she was carrying was Lesley's husband, not her own. Later on, Alan had his own illegitimate child, so Monica was on the opposite side there, and after refusing to have anything to do with that child for years came to love him as if he was her own. The plotline of this pre-code soap opera from Warner Brothers is almost exactly the same as that second story I mention, although the Dr. Monica character here (played nobly with much detail by the beautiful Kay Francis) was closer to Lesley Webber than the acid tongued Monica Quartermain.
Dr. Monica (no last name given) is a baby doctor, married to suave novelist Warren William who is ready to head to Europe for two months to start work on his latest book. Their marriage, seemingly perfect, is only interrupted by his excursions and her long working hours, and often they don't see each other for days at a time. But when they do, it is usually with their social circle, which includes the tall and elegant Verree Teasdale, a truth teller of no equal, and the innocent Jean Muir who is soon revealed to have been having an affair with William and now pregnant with William's child. Francis is devoted to her husband and these two friends, and when Muir collapses at a party, Francis realizes that Muir is pregnant without the benefit of marriage, and decides to help her without judgment. Feeling guilty for her betrayal, Muir still can't give up hope that William will leave Francis for her, but William has become to fully love his wife again even in spite of the separations they endure. After he leaves for Europe, Francis overhears Muir trying to reach him and realizes the horrifying truth. She must decide between her conflicting ethics over her resentment towards "the other woman" or doing her job in spite of her feelings.
There are conflicting opinions over Kay Francis's status as both a movie star and as an actress. I've always been mesmerized by her presence, whether as a vamp in early talkies, long-suffering heroine during her reign as Queen of Warner Brothers (1934-1937) and her later career as some rather nasty older women. Each character, even when the situations were similar, had details that made them unique, and in Monica's case, Francis makes her completely understandable, noble yet feeling betrayed with much anger when Muir's secrets come out. William and Francis get a very nice romantic scene after their reconciliation, equal to Francis's memorable romantic scenes in her biggest classic, "One Way Passage", with William Powell. Teasdale is the ultimate scene stealer, so commanding with her regal presence, and even if she seems to have no romantic life of her own, is highly involved in this story to where she takes control every time she is on screen. Muir, too, is very good, and deserves the sympathy she gets even if she has the potential to be a homewrecker. In smaller parts, Emma Dunn and Louise Beavers are also very good. "Dr. Monica" might be a typical pre-code golden age weepie, but the cast makes it totally unforgettable.
Dr. Monica (no last name given) is a baby doctor, married to suave novelist Warren William who is ready to head to Europe for two months to start work on his latest book. Their marriage, seemingly perfect, is only interrupted by his excursions and her long working hours, and often they don't see each other for days at a time. But when they do, it is usually with their social circle, which includes the tall and elegant Verree Teasdale, a truth teller of no equal, and the innocent Jean Muir who is soon revealed to have been having an affair with William and now pregnant with William's child. Francis is devoted to her husband and these two friends, and when Muir collapses at a party, Francis realizes that Muir is pregnant without the benefit of marriage, and decides to help her without judgment. Feeling guilty for her betrayal, Muir still can't give up hope that William will leave Francis for her, but William has become to fully love his wife again even in spite of the separations they endure. After he leaves for Europe, Francis overhears Muir trying to reach him and realizes the horrifying truth. She must decide between her conflicting ethics over her resentment towards "the other woman" or doing her job in spite of her feelings.
There are conflicting opinions over Kay Francis's status as both a movie star and as an actress. I've always been mesmerized by her presence, whether as a vamp in early talkies, long-suffering heroine during her reign as Queen of Warner Brothers (1934-1937) and her later career as some rather nasty older women. Each character, even when the situations were similar, had details that made them unique, and in Monica's case, Francis makes her completely understandable, noble yet feeling betrayed with much anger when Muir's secrets come out. William and Francis get a very nice romantic scene after their reconciliation, equal to Francis's memorable romantic scenes in her biggest classic, "One Way Passage", with William Powell. Teasdale is the ultimate scene stealer, so commanding with her regal presence, and even if she seems to have no romantic life of her own, is highly involved in this story to where she takes control every time she is on screen. Muir, too, is very good, and deserves the sympathy she gets even if she has the potential to be a homewrecker. In smaller parts, Emma Dunn and Louise Beavers are also very good. "Dr. Monica" might be a typical pre-code golden age weepie, but the cast makes it totally unforgettable.
Her duty was clear
bkoganbing14 July 2018
I'm in agreement with the reviewer who said that The Code probably ruined this
film. As it is it's the kind of hgh gloss soap opera that used to be referred to
as women's pictures.
Kay Francis is in the title role and she's a most successful doctor, an obstetrician who delivers the world's babies but has none of her own. Not that her husband Warren William isn't generous. In fact he's impregnated Amelia Earhart like aviatrix Jean Muir. and it's Francis who gets to deliver the child and learn at the same time who the father is.
The presence of the infant girl makes the whole thing an impossible situation. One of them is going to have to realize that her duty is clear.
Verree Teasdale who is friend to all is keeper of the secrets. Her's is the only other role of consequence in Dr. Monica.
The four principles are fine although William's part is somewhat submerged with the trio of actresses. I wonder if Dr. Monica were made today with the Code gone how the drama would resolve itself.
Some strong similarities between Dr. Monica and the Katharine Hepburn classic done at RKO, Christopher Strong.
Kay Francis is in the title role and she's a most successful doctor, an obstetrician who delivers the world's babies but has none of her own. Not that her husband Warren William isn't generous. In fact he's impregnated Amelia Earhart like aviatrix Jean Muir. and it's Francis who gets to deliver the child and learn at the same time who the father is.
The presence of the infant girl makes the whole thing an impossible situation. One of them is going to have to realize that her duty is clear.
Verree Teasdale who is friend to all is keeper of the secrets. Her's is the only other role of consequence in Dr. Monica.
The four principles are fine although William's part is somewhat submerged with the trio of actresses. I wonder if Dr. Monica were made today with the Code gone how the drama would resolve itself.
Some strong similarities between Dr. Monica and the Katharine Hepburn classic done at RKO, Christopher Strong.
Kay Francis Soap Opera
whpratt116 October 2008
Kay Francis, (Dr. Monica Braden) is madly in love with her husband, John Braden, (Warren William) who is a writer and very seldom sees his wife because she is a very successful physician and travels a great deal. Monica finds out the sad fact that she cannot have any children of her own and she decides to adopt a child. Monica has a girlfriend named Mary Hathaway, (Jean Muir) who is very much attracted to Monica's husband John which she finds out about by listening to his conversation on a phone. Monica keeps the secret to herself and the story gets quite interesting after this event. If you like soap operas from 1934, this is a good Kay Francis special with her giving a great performance.
My favorite Kay Francis movie
HotToastyRag21 June 2021
Don't faint, but I actually liked Kay Francis in Dr. Monica. Usually I'm her biggest critic, but she did a good job in this entertaining drama. I found her much more believable as a career woman than as a mother, her usual role. She always seemed very self-absorbed to me, a quality that lends itself much more to a high rung on the ladder than a seat in the nursery. In this movie, she's a dedicated obstetrician with a supportive husband, Warren William, who also has his own career. They seem to have a perfect marriage and all their friends envy them.
All except one, Jean Muir. Jean is having an affair with Warren behind Kay's back. If you look the movie up online, you'll get major spoiler alerts as to the rest of the plot. I wouldn't recommend it; just watch the movie and let it unfold naturally. It's a very interesting story with a timeless struggle between the characters. And don't be surprised if you get a lump in your throat at the end. You'll also see Ann Shoemaker and Verree Teasdale in the supporting cast, and Louise Beavers in a small role as Jean's maid.
All except one, Jean Muir. Jean is having an affair with Warren behind Kay's back. If you look the movie up online, you'll get major spoiler alerts as to the rest of the plot. I wouldn't recommend it; just watch the movie and let it unfold naturally. It's a very interesting story with a timeless struggle between the characters. And don't be surprised if you get a lump in your throat at the end. You'll also see Ann Shoemaker and Verree Teasdale in the supporting cast, and Louise Beavers in a small role as Jean's maid.
A very unsatisfying Pre-Code melodrama.
planktonrules18 March 2016
Dr. Monica (Kay Francis) is a successful Obstetrician and is really, really wrapped up in her job--so much so that when her husband, John (Warren William), goes off to Europe on business for several months, Monica stays home. It's obvious that there are problems in this relationship but Monica doesn't know how deep they are, as John has been having an affair with Mary (Jean Muir)! When Mary ends up pregnant, Monica treats her friend wonderfully...not realizing that Mary is a back-stabbing tramp. But, when Monica finally learns the truth, Mary is in labor and Monica is forced to deliver the baby. However, although Monica is hurt and angry, she's also saint-like and eventually plans to let John go so that he can wed Mary. However, Mary and her friends realize that John really does love Monica and her plan cannot be allowed to occur. So what will they do instead? Yep, leave the baby with Monica, kill yourself so you won't be the one to break up the marriage AND have Monica NEVER tell John the baby is biologically his!!!
This was one of the last Pre-Code films released by Hollywood. It debuted in June, 1934 and the new, tougher code went into effect the following month. As a result, the film was soon pulled from circulation and not re-shown for some time due to its plot. Adultery was NOT to be allowed in films unless it was severely punished and Monica and John's 'modern' sense of morality was definitely NOT allowed Post-Code. For me, however, it's not the morality of the film that's a major issue but the utter ridiculous way that Monica behaves. She is just too understanding, too nice and too unreal. I would have loved to have seen her enraged or downright hostile...instead she's too good and sweet to be real. And, the ending, while satisfying in a Hollywood way, is also completely ridiculous. A real disappointment.
This was one of the last Pre-Code films released by Hollywood. It debuted in June, 1934 and the new, tougher code went into effect the following month. As a result, the film was soon pulled from circulation and not re-shown for some time due to its plot. Adultery was NOT to be allowed in films unless it was severely punished and Monica and John's 'modern' sense of morality was definitely NOT allowed Post-Code. For me, however, it's not the morality of the film that's a major issue but the utter ridiculous way that Monica behaves. She is just too understanding, too nice and too unreal. I would have loved to have seen her enraged or downright hostile...instead she's too good and sweet to be real. And, the ending, while satisfying in a Hollywood way, is also completely ridiculous. A real disappointment.
Kay Francis Warners' #1 Star
drednm28 April 2018
This women's movie about a selfless doctor (Kay Francis) who can't have children and her philandering husband (Warren William) was originally a brisk 65 minutes. After the censors were through with it, it was trimmed to 53 minutes.
The problem was that the husband fathers a child with an unmarried woman (Jean Muir) but remains blissfully unaware of it. Muir goes off to a country clinic to have the kid, so no one is the wiser except for Francis and her icy friend (Verree Teasdale).
Muir doesn't want the baby if she can't have the husband, but he's through with her and doesn't know about the baby anyway. He keeps going to and coming from Europe while all this plays out. Francis is about to have an operation so she can have children but is told it's futile.
Ultimately, Muir takes matters into her own hands to resolve the problem.
Francis, Muir, and Teasdale are all quite good but Warren doesn't have much to do since he's not involved in the main plot. Emma Dunn is the nurse, Phillip Reed shows up for a second, and Ann Shoemaker has one scene at a party.
It would be interesting to see what ended up on the cutting room floor.
The problem was that the husband fathers a child with an unmarried woman (Jean Muir) but remains blissfully unaware of it. Muir goes off to a country clinic to have the kid, so no one is the wiser except for Francis and her icy friend (Verree Teasdale).
Muir doesn't want the baby if she can't have the husband, but he's through with her and doesn't know about the baby anyway. He keeps going to and coming from Europe while all this plays out. Francis is about to have an operation so she can have children but is told it's futile.
Ultimately, Muir takes matters into her own hands to resolve the problem.
Francis, Muir, and Teasdale are all quite good but Warren doesn't have much to do since he's not involved in the main plot. Emma Dunn is the nurse, Phillip Reed shows up for a second, and Ann Shoemaker has one scene at a party.
It would be interesting to see what ended up on the cutting room floor.
Fantasy
view_and_review22 April 2024
Warning: Spoilers
The more I watch 30's films the more I'm convinced that being part of high society means being a sociopath. I've never seen a whole species of creatures so able to compartmentalize and suppress emotions like them. When they do show emotion I believe they do it just to prove that they are human.
"Dr. Monica" was another high society movie about women and their men problems. In other words, it was nauseating.
Dr. Monica Braden (Kay Francis) was married to John Braden (Warren William) who was banging Mary Hathaway (Jean Muir). That was nothing new or novel for that era. You could spin a wheel and land on a 1930's movie that involved high society folks and their rampant infidelity.
In this case Mary got pregnant with John's child. That was something a little different because usually "gentlemen" had more sense than to get their side chick pregnant.
We knew Mary was pregnant because she fainted inexplicably. That was a sure sign of pregnancy because in 1934 they still weren't saying the word PREGNANT on screen. Just typing it makes me feel dirty. Such a lowly word. Gone are the days of purity when a movie would romanticize affairs, yet make sure not to show or even say the word pregnant. And because of Poe's Law regarding internet sarcasm not being understood, I'm telling you now that I was being sarcastic.
Mary had every intention of not notifying John that he had a baby. That was another common thing back then. If a woman wanted to spare a man any hardship or obligation, she would withhold that she had his child (see "Ann Vickers" (1933), "Only Yesterday" (1933), "Mary Stevens M. D." (1933), "Coming Out Party" (1934), and many others). The women back then were so wholly committed to the satisfaction of the man, and not burdening him with their troubles, that they would keep a child a secret so that he could go on and be free while she bore the burden of the child alone. What strong noble women they were (remember Poe's Law).
Mary was in an interesting predicament. Her obstetrician was none other than John's wife, Dr. Monica. How about that for irony? She never told Dr. Monica who the father was and she didn't plan on telling her. With that being the case, if she had any decency she would've gone somewhere else to have the baby, but this woman was carved out of stupidity.
From the point Dr. Monica informed Mary that she was pregnant, the movie took on a strange surreal atmosphere. Almost nothing that occurred after that point resembled reality or what real people do.
Remember how I said that Mary wanted to keep the father of the baby a secret from the father (John Braden) and from Dr. Monica? Well, while she was in bed waiting to deliver she decided to call John. She finally caved. She couldn't give birth alone, so she called John in a fit of panic. It needs to be known that she was giving birth in a house which was more private than a hospital. EVERYONE in that house could hear her call John. Even though she didn't get a hold of John, Dr. Monica still overheard her crying, "I must speak to John, it's important!"
Monica is no fool. She knew there could be only one reason she was so desperate to talk to her (Monica's) husband at that time. John had to be the father.
What does Monica do? She kept that knowledge to herself like a good sociopathic society girl should and delivered the baby. Sure, she was a bit cold towards Mary during and after the birth, but she wouldn't say why. Meanwhile, mush-brain Mary couldn't fathom why Dr. Monica was suddenly so cold towards her.
I wanted to scream, "SHE HEARD YOUR DUMBASS ON THE PHONE! THE NEIGHBORS PROBABLY HEARD YOU CALLING FOR JOHN!!"
She asked Monica, "Why don't you ever kiss me?" My assumption is that kissing is a normal greeting among society women, though there was no indication that Monica ever kissed Mary before. Still, I found the question strange. Instead of asking why she was so distant or cold towards her, she asked why she doesn't ever kiss her.
The two went back and forth with Mary keeping concealed what she unwittingly revealed, and Monica keeping concealed what she'd overheard. It was a dumb dance that was rooted in sparing the feelings of the other when in reality no such attempts would've been made.
Monica decided that she too would keep the baby a secret from John. So now the baby's mother AND the wife who was cheated on decided to spare John the burdensome knowledge that 1.) his affair is now known and 2.) he has a baby.
This was a society trope that always makes me lose my mind. Many many many movies involved infidelity and knowledge of the infidelity that is kept secret as though it's worse to confront the cheater than it is to cheat. It was a bizarre custom that would've kept me far from their circles. There's no way I'm keeping quiet if I know that my wife is cheating or that someone is cheating on a friend of mine. Later for such decorum.
Monica opted to spend two fantastic weeks with her husband before telling him what she knew and then breaking it off. She was going to compartmentalize her feelings about his affair, then be the better woman and bow out gracefully, thereby leaving him to raise a child with his mistress. Yet another society cliche I can't stand: being the "gentleman" or the "lady" when you've discovered that your S. O. loves another. They are so disgustingly diplomatic about it. They dare not interfere with the happiness of their S. O., so they quietly remove themselves from the dreaded love triangle as though there's some nobility in that.
Monica (the wife) would gracefully disappear out of John and Mary's life as though she were just a dream. She would swallow her pride and any feelings to make sure that she was no impediment to the happiness of two people, as though she had no stake in the matter at all. I really don't get it and I don't care to.
Monica's martyrdom would be co-opted by Mary's. When Mary heard that Monica planned to leave John, she simply couldn't allow such a happy marriage to be ruined on account of her. She made the move first and left. She essentially committed suicide (flew a plane across the ocean with no preparation); one of the surest ways to eliminate one side of a triangle.
That left two matters: would Monica take the baby, and would Monica finally tell John he fathered a baby.
Of course Monica took the baby. It was serendipitous because she couldn't have one of her own. And what's more--SHE NEVER TOLD JOHN SHE KNEW ABOUT THE AFFAIR OR THAT THE BABY WAS HIS.
Nope.
She just told him she adopted a baby and they lived happily ever after, while I sat dumbfounded, yelling GTFOH you apes. You're not people, you're robots or single-celled amoeba because real people don't behave like this.
This was yet another movie that left me asking, "Who writes this bleep?" It says Charles Kenyon, Laura Walker, and Maria Morozowicz-Szczepkowska, but I contend that they are not real people. They couldn't have been. I contend that they were aliens or perhaps children because adult human beings don't write such nonsense without labeling it "Fantasy."
Free on Odnoklassniki.
"Dr. Monica" was another high society movie about women and their men problems. In other words, it was nauseating.
Dr. Monica Braden (Kay Francis) was married to John Braden (Warren William) who was banging Mary Hathaway (Jean Muir). That was nothing new or novel for that era. You could spin a wheel and land on a 1930's movie that involved high society folks and their rampant infidelity.
In this case Mary got pregnant with John's child. That was something a little different because usually "gentlemen" had more sense than to get their side chick pregnant.
We knew Mary was pregnant because she fainted inexplicably. That was a sure sign of pregnancy because in 1934 they still weren't saying the word PREGNANT on screen. Just typing it makes me feel dirty. Such a lowly word. Gone are the days of purity when a movie would romanticize affairs, yet make sure not to show or even say the word pregnant. And because of Poe's Law regarding internet sarcasm not being understood, I'm telling you now that I was being sarcastic.
Mary had every intention of not notifying John that he had a baby. That was another common thing back then. If a woman wanted to spare a man any hardship or obligation, she would withhold that she had his child (see "Ann Vickers" (1933), "Only Yesterday" (1933), "Mary Stevens M. D." (1933), "Coming Out Party" (1934), and many others). The women back then were so wholly committed to the satisfaction of the man, and not burdening him with their troubles, that they would keep a child a secret so that he could go on and be free while she bore the burden of the child alone. What strong noble women they were (remember Poe's Law).
Mary was in an interesting predicament. Her obstetrician was none other than John's wife, Dr. Monica. How about that for irony? She never told Dr. Monica who the father was and she didn't plan on telling her. With that being the case, if she had any decency she would've gone somewhere else to have the baby, but this woman was carved out of stupidity.
From the point Dr. Monica informed Mary that she was pregnant, the movie took on a strange surreal atmosphere. Almost nothing that occurred after that point resembled reality or what real people do.
Remember how I said that Mary wanted to keep the father of the baby a secret from the father (John Braden) and from Dr. Monica? Well, while she was in bed waiting to deliver she decided to call John. She finally caved. She couldn't give birth alone, so she called John in a fit of panic. It needs to be known that she was giving birth in a house which was more private than a hospital. EVERYONE in that house could hear her call John. Even though she didn't get a hold of John, Dr. Monica still overheard her crying, "I must speak to John, it's important!"
Monica is no fool. She knew there could be only one reason she was so desperate to talk to her (Monica's) husband at that time. John had to be the father.
What does Monica do? She kept that knowledge to herself like a good sociopathic society girl should and delivered the baby. Sure, she was a bit cold towards Mary during and after the birth, but she wouldn't say why. Meanwhile, mush-brain Mary couldn't fathom why Dr. Monica was suddenly so cold towards her.
I wanted to scream, "SHE HEARD YOUR DUMBASS ON THE PHONE! THE NEIGHBORS PROBABLY HEARD YOU CALLING FOR JOHN!!"
She asked Monica, "Why don't you ever kiss me?" My assumption is that kissing is a normal greeting among society women, though there was no indication that Monica ever kissed Mary before. Still, I found the question strange. Instead of asking why she was so distant or cold towards her, she asked why she doesn't ever kiss her.
The two went back and forth with Mary keeping concealed what she unwittingly revealed, and Monica keeping concealed what she'd overheard. It was a dumb dance that was rooted in sparing the feelings of the other when in reality no such attempts would've been made.
Monica decided that she too would keep the baby a secret from John. So now the baby's mother AND the wife who was cheated on decided to spare John the burdensome knowledge that 1.) his affair is now known and 2.) he has a baby.
This was a society trope that always makes me lose my mind. Many many many movies involved infidelity and knowledge of the infidelity that is kept secret as though it's worse to confront the cheater than it is to cheat. It was a bizarre custom that would've kept me far from their circles. There's no way I'm keeping quiet if I know that my wife is cheating or that someone is cheating on a friend of mine. Later for such decorum.
Monica opted to spend two fantastic weeks with her husband before telling him what she knew and then breaking it off. She was going to compartmentalize her feelings about his affair, then be the better woman and bow out gracefully, thereby leaving him to raise a child with his mistress. Yet another society cliche I can't stand: being the "gentleman" or the "lady" when you've discovered that your S. O. loves another. They are so disgustingly diplomatic about it. They dare not interfere with the happiness of their S. O., so they quietly remove themselves from the dreaded love triangle as though there's some nobility in that.
Monica (the wife) would gracefully disappear out of John and Mary's life as though she were just a dream. She would swallow her pride and any feelings to make sure that she was no impediment to the happiness of two people, as though she had no stake in the matter at all. I really don't get it and I don't care to.
Monica's martyrdom would be co-opted by Mary's. When Mary heard that Monica planned to leave John, she simply couldn't allow such a happy marriage to be ruined on account of her. She made the move first and left. She essentially committed suicide (flew a plane across the ocean with no preparation); one of the surest ways to eliminate one side of a triangle.
That left two matters: would Monica take the baby, and would Monica finally tell John he fathered a baby.
Of course Monica took the baby. It was serendipitous because she couldn't have one of her own. And what's more--SHE NEVER TOLD JOHN SHE KNEW ABOUT THE AFFAIR OR THAT THE BABY WAS HIS.
Nope.
She just told him she adopted a baby and they lived happily ever after, while I sat dumbfounded, yelling GTFOH you apes. You're not people, you're robots or single-celled amoeba because real people don't behave like this.
This was yet another movie that left me asking, "Who writes this bleep?" It says Charles Kenyon, Laura Walker, and Maria Morozowicz-Szczepkowska, but I contend that they are not real people. They couldn't have been. I contend that they were aliens or perhaps children because adult human beings don't write such nonsense without labeling it "Fantasy."
Free on Odnoklassniki.
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