Hell hath no fury like a woman scorned – there is no doubt Pre-Code cinema thrived on this ancient idiom. A prime example is George B. Seitz’s 1931 romance driven drama, Arizona (based on a famous play of the time written by Augustus Thomas).
The original 1931 half sheet poster for Arizona, featuring Laura La Plante and John Wayne
Poor Evelyn Palmer (Laura La Plante) – she’s been in a very secretive romantic tryst with one of the Army’s top up and comers, Lt. Bob Denton (a very early starring role for John Wayne). Charming, debonair, and a supreme athlete (he’s the star full back in the annual Army-Navy football game. . . they even send him in to kick the extra point to win the game), Evelyn has spent the last two years of her life courting the catch. . . only for him to break it off after his memorable performance (saying he never planned on marrying her after all).
Breaking her heart (but not her fiery spirit), she immediately concocts a vengeful plot. . . wooing the much older and influential Colonel Frank Bonham (Forrest Stanley) – a man who is a combination of mentor and father figure to the Lieutenant. Her drive seeming like unbridled passion (though it might simply be the contemning nature she holds for her former lover), they soon marry. . . Denton completely unaware that all of this has happened.
Thriving on Denton’s reaction when he finally drops by their expansive Arizona abode, she relishes in his shock and jaw dropping awe. The only problem – Evelyn’s younger and better looking sister, Bonita ‘Bonnie’ Parker (June Clyde), falls head over heels in love with the tall, beat `em off with a stick Lieutenant. Becoming a real Peyton Place, how will Evelyn attempt to keep her younger sister away from her former lover? Might this turn out to be Denton’s own vengeful plan to make Evelyn rue the day she messed with him? Will the oblivious Bonnie or Bonham ever discover the truth of their respective significant others’ illicit past? And, as the trade ads at the time of this movie’s release once asked, ‘How much can a woman hate a man she has loved?’.
This is really only the beginning, for things turn even dirtier after Evelyn spots Denton driving with a drunk Mexican dancer (Nina Quartero) who’s plastered all over him. No spoilers though. A rather unusual mix of romance and vindictive drama, it walks the tightrope quite well, despite its pacing being more than a tad on the slow side. Thriving on this acrimonious attitude, it is what keeps this narrative fresh. . . its depiction of human nature by no means out of place in this twenty-first century.
Though not as edgy as many of the other Pre-Code movies from this time, Arizona, which was originally titled “Men Are Like That” before switching back to the original stage play name after the New York City premiere release, is still an intriguing watch. It’s also a treat seeing a very young John Wayne (his iconic voice and strut a bit more subdued early on). . . his undeniable charisma a sure sign of the star he would soon become. So, don’t keep this one a naughty little secret, find a way to frame it on your tv screen today.
Nik, you must fill us in on what The Code suppressed when it came into effect. Explicit details, please!
Information on The Code is woven through my many Pre-Code reviews, different tidbits provided where needed to paint the picture of this changing time in Hollywood. Will have to think on doing a piece specifically on it. Thanks, David.