Some reviews I've read about "Five and Ten" focus on the romance between Jennifer Rarick and Berry Rhodes. Others seem to be enthralled or perplexed (as the case may be) that this is a "pre- code" film. Well, neither of those aspects seem to be the driving force behind this movie. And they probably weren't in the novel by Fannie Hurst, on which this film is based. I know that films of old often were touted for their romantic leads, as they are today.
But this film was billed as a drama, and promoted as such. The romance between the two biggest name stars of the film is part of the bigger story. Marion Davies and Leslie Howard play their roles fine – as do all the cast. Some have noted that the acting of one or another of the players seemed stiff, or not convincing. Overall, there seems to be an air of reservation over the cast – that is, all except for Richard Bennett who plays John Rarick.
But this 1931 film is smack dab in the early years of the Great Depression. The Hurst novel was published in 1929 and probably came out before Black Tuesday, the Stock Market Crash of Oct. 24, 1929. That was the final nail in the coffin of prosperity, and the start of the Great Depression that would set the world on its heels for nearly a decade. Fannie Hurst didn't know that was about to take place when she wrote her book. But MGM knew that it was in full swing when it made the movie.
So, this was a time when Hollywood tried to do its part to help the country along. It did this by a prolific production of comedy films. And action and adventure films. And romances. And some gangster and crime films (Prohibition wouldn't end until 1933, and the era of crime bosses led to lots of criminal activity and street action that made newspaper headlines). But, still, Hollywood put out some serious dramas. And this was one of them. "Five and Ten" is loaded with social commentary of the time and with moral lessons.
We know that the Rarick family was very happy once. When the father was working and saving and struggling to begin his own store, he still had time for his family. They had great love. Reflections by young Avery Rarick and others allude to the happy days. Douglass Montgomery plays Avery well. He is the focal point on which the film turns between the happy, less rich times, the new wealthy times with no time for family, and a sort of redemption.
As this film opens, we see Rarick obsessed with growing his company to be the largest retailer in the world. The message of greed and power and what it does to a man and his family couldn't' be lost on anyone who saw this film in 1931. And it shouldn't be lost on anyone today. Into their new world of the wealthy of New York, the Raricks try to find their place. John is king, so he makes his place – unchallenged. Irene Rich as Jenny, John's wife, sees him slipping away from her with his new loves, business and power. She is torn when tempted by an affair with a handsome man. Jennifer tries to crash the blue blood society of New York but is rejected. Oh, she's welcome for her money, but she is excluded from the inner circles.
Berry has blue blood connections, but is an independent high-living socialite himself. He does have a trade and slight interest in architecture. He is engaged to Muriel Preston, played by Mary Duncan. As this melodrama plays out, Berry marries Preston, Jennifer is shunned by the wealthy crowd, John becomes the world retail king, Jenny goes off to leave him, and Avery tries to bring the family back together by getting drunk and committing suicide by crashing his plane. On his deathbed, the family members come to their senses – well, almost. John had offered Muriel a hefty sum to divorce Berry so that Jennifer could have her man. Muriel didn't love him anyway and could use the money. But Jennifer overhears and stops the deal. She wouldn't have a man her father had to buy. So instead, as the film ends, the remaining three Raricks are headed to Europe. Berry arrives at the pier to see them off. Jennifer expects him to follow her to Europe so that she can have her adulterous love affair with the married Berry. So, some people learn by tragedy, and some don't.
There's a very interesting and uncanny sidebar to this film. It's about the actress Mary Duncan who plays Muriel, Jennifer's nemesis in this film. She had been a success on Broadway and went to Hollywood. While making this film, she and Marion Davies became friends. The IMDb mini biography says that the two attended a polo match and Davies introduced Duncan to Stephen Sanford. He was a polo star and director of a huge carpet company (Bigelow-Sanford). Duncan and Sanford married in 1933. She quit acting, the couple moved to Palm Beach, Florida, and Mary became a true bon vivant and leader of Palm Beach society. The marriage lasted 44 years until his death in 1977. She lived to age 97 and died on May 9, 1993. She spent much of her late years working with several major charities. So, from a fictitious wealthy blue blood in a marriage without love, it seems that Mary Duncan found a real life of love with wealth.
But this film was billed as a drama, and promoted as such. The romance between the two biggest name stars of the film is part of the bigger story. Marion Davies and Leslie Howard play their roles fine – as do all the cast. Some have noted that the acting of one or another of the players seemed stiff, or not convincing. Overall, there seems to be an air of reservation over the cast – that is, all except for Richard Bennett who plays John Rarick.
But this 1931 film is smack dab in the early years of the Great Depression. The Hurst novel was published in 1929 and probably came out before Black Tuesday, the Stock Market Crash of Oct. 24, 1929. That was the final nail in the coffin of prosperity, and the start of the Great Depression that would set the world on its heels for nearly a decade. Fannie Hurst didn't know that was about to take place when she wrote her book. But MGM knew that it was in full swing when it made the movie.
So, this was a time when Hollywood tried to do its part to help the country along. It did this by a prolific production of comedy films. And action and adventure films. And romances. And some gangster and crime films (Prohibition wouldn't end until 1933, and the era of crime bosses led to lots of criminal activity and street action that made newspaper headlines). But, still, Hollywood put out some serious dramas. And this was one of them. "Five and Ten" is loaded with social commentary of the time and with moral lessons.
We know that the Rarick family was very happy once. When the father was working and saving and struggling to begin his own store, he still had time for his family. They had great love. Reflections by young Avery Rarick and others allude to the happy days. Douglass Montgomery plays Avery well. He is the focal point on which the film turns between the happy, less rich times, the new wealthy times with no time for family, and a sort of redemption.
As this film opens, we see Rarick obsessed with growing his company to be the largest retailer in the world. The message of greed and power and what it does to a man and his family couldn't' be lost on anyone who saw this film in 1931. And it shouldn't be lost on anyone today. Into their new world of the wealthy of New York, the Raricks try to find their place. John is king, so he makes his place – unchallenged. Irene Rich as Jenny, John's wife, sees him slipping away from her with his new loves, business and power. She is torn when tempted by an affair with a handsome man. Jennifer tries to crash the blue blood society of New York but is rejected. Oh, she's welcome for her money, but she is excluded from the inner circles.
Berry has blue blood connections, but is an independent high-living socialite himself. He does have a trade and slight interest in architecture. He is engaged to Muriel Preston, played by Mary Duncan. As this melodrama plays out, Berry marries Preston, Jennifer is shunned by the wealthy crowd, John becomes the world retail king, Jenny goes off to leave him, and Avery tries to bring the family back together by getting drunk and committing suicide by crashing his plane. On his deathbed, the family members come to their senses – well, almost. John had offered Muriel a hefty sum to divorce Berry so that Jennifer could have her man. Muriel didn't love him anyway and could use the money. But Jennifer overhears and stops the deal. She wouldn't have a man her father had to buy. So instead, as the film ends, the remaining three Raricks are headed to Europe. Berry arrives at the pier to see them off. Jennifer expects him to follow her to Europe so that she can have her adulterous love affair with the married Berry. So, some people learn by tragedy, and some don't.
There's a very interesting and uncanny sidebar to this film. It's about the actress Mary Duncan who plays Muriel, Jennifer's nemesis in this film. She had been a success on Broadway and went to Hollywood. While making this film, she and Marion Davies became friends. The IMDb mini biography says that the two attended a polo match and Davies introduced Duncan to Stephen Sanford. He was a polo star and director of a huge carpet company (Bigelow-Sanford). Duncan and Sanford married in 1933. She quit acting, the couple moved to Palm Beach, Florida, and Mary became a true bon vivant and leader of Palm Beach society. The marriage lasted 44 years until his death in 1977. She lived to age 97 and died on May 9, 1993. She spent much of her late years working with several major charities. So, from a fictitious wealthy blue blood in a marriage without love, it seems that Mary Duncan found a real life of love with wealth.