You cannot rate Monogram films on the same scale as MGM, 20th or Warners; It simply isn't realistic when you compare budgets, shooting schedules and the lack of "A" list stars. Sure, by 1945, Monogram was grabbing some former "A" list stars, and here is one of the biggest-Kay Francis. Getting ready to return to the stage, she was unknowingly wrapping up her screen career by producing three films she starred in. I have, thus far, seen two-"Divorce" and "Allotment Wives", both interesting dramas of different themes and worth watching. "Allotment Wives" is a sleeper/film noir that has gotten somewhat of a cult status. "Divorce" is a domestic drama of a much married divorcée who returns to her home town and wreaks havoc.
Having trapped Cary Grant into a loveless marriage in "In Name Only", here Kay is a predatory female who gets an old flame (now married with children) involved in a real estate deal and then steals him away from his wife. Bruce Cabot is the husband and Helen Mack is the wife. Both Cabot and Mack were previous second string stars at "A" studios, but reduced to Monogram by this time. Francis, in spite of having played all those troubled mothers at Warner Brothers, had played a series of trouble-making wives and mistresses-check out "A Notorious Affair" and "Passion Flower". She has a great exit line here that brings on a sense of irony.
Monogram was known for one thing-making them cheap and quick, no fancy long running time and no messing around with silly subplots to drag the film up to 90 minutes. These were second features, and with them, there is no nonsense. The dialog is crisp, to the point, sometimes a bit silly or trite, yet never stagy or too chatty. This is one of their more elegant productions, a bit more art decco than most, and very well acted. Some critics comment on the relationship between Cabot and Mack and their children as a bit too much, but I found it unique, like it was from the writer's own experience, and a nice touch. That lovable Scottish character actress, Mary Gordon, is their devoted housekeeper, looking over them just like she did for Sherlock Holmes for years.
Having trapped Cary Grant into a loveless marriage in "In Name Only", here Kay is a predatory female who gets an old flame (now married with children) involved in a real estate deal and then steals him away from his wife. Bruce Cabot is the husband and Helen Mack is the wife. Both Cabot and Mack were previous second string stars at "A" studios, but reduced to Monogram by this time. Francis, in spite of having played all those troubled mothers at Warner Brothers, had played a series of trouble-making wives and mistresses-check out "A Notorious Affair" and "Passion Flower". She has a great exit line here that brings on a sense of irony.
Monogram was known for one thing-making them cheap and quick, no fancy long running time and no messing around with silly subplots to drag the film up to 90 minutes. These were second features, and with them, there is no nonsense. The dialog is crisp, to the point, sometimes a bit silly or trite, yet never stagy or too chatty. This is one of their more elegant productions, a bit more art decco than most, and very well acted. Some critics comment on the relationship between Cabot and Mack and their children as a bit too much, but I found it unique, like it was from the writer's own experience, and a nice touch. That lovable Scottish character actress, Mary Gordon, is their devoted housekeeper, looking over them just like she did for Sherlock Holmes for years.