User Reviews

Movies come in many genres and cover life from the common, everyday, to the dreamlike fantasy, to the very unusual. Even within these there are so many variations. "The Bachelor Father" falls into that category of unusual. It's about a senior Englishman of status who never married, but who had a number of romances in the past. He wasn't a playboy who had uncounted one-night stands. His were romances of some duration, for which he had memories – good and not so good. In the case of three such liaisons, he kept records. They resulted in having children born out of wedlock. He wouldn't marry the women, but he would provide support for their children.

This is a so-called "pre-code" film that has nothing risqué or taboo about it. Some films were that way. And the effect the Hays Code had after 1934 – especially on comedy, was quite good. It led to better writing and directing that resulted in much better comedy for many films. But with this pre-1934 Hays enforcement film, the only "daring" aspect was just in having the subject of the film. Today this would be a G-rated movie. In 1931, it shouldn't have even raised eyebrows over dress, language or behavior on film. But, the plot was enough to raise eyebrows back then. A man who fathered three children out of wedlock, and by three different women was scandalous enough. That it would be treated so lightly probably is what drew any criticism.

So, now this life-long bachelor is getting on in age, and he wants to meet his children and have them share some time with him. One or more of them will one day inherit his English estate. On this basis, the story of "The Bachelor Father" unfolds. And, it's a delightful one indeed. One must remember that this is very early in the sound era – talkies had been around just two years. The technical equipment and cinematography were yet evolving from the silent era. Many actors still showed characteristics of the silent film acting, which was overacting. So, the sound and other technical qualities are lacking; and some of the acting is stiff or rudimentary.

But, the story and interaction between the various characters is delightful. Other reviewers have noted the major role of C. Aubrey Smith. I too think he was one of the most enjoyable character actors for years in the heyday of Hollywood. Here he plays a perfect Sir Basil Winterton. I think he dominates the scenes he is in, even when Marion Davies' role draws the attention with her lines and actions. Ralph Forbes is very good as John Ashley, and Davies is very good in her role as Tony Flagg. A very young Ray Milland seems a bit wooden as Geoffrey Trent. It was only his fourth credited film (ninth overall). The rest of the cast all are very good.

There are no witty exchanges or clever funny lines in "The Bachelor Father." Rather, its comedy comes just in the interaction between the players. The film's rough qualities are offset some by its portrayal of the qualities of early Hollywood transition to sound. In that it has some historic value. I think the story is interesting enough (a bold one of sorts, for sure) and the acting good enough to rate it six stars. But I am surprised at the high overall rating by viewers as of the time of my writing here – in June 2015. I can't believe that so many viewers (of the 840 at this time) think this movie is on a par with or better than such great comedies as "Love Crazy" (1941), "It's Love I'm After" (1937), "Easy Living," (1937), "The Ex-Mrs. Bradford" (1936), "Holiday" (1938), "It Started with Eve" (1941), "Merrily We Live" (1938), "My Favorite Wife" (1940), or dozens more of truly great comedies.

This is a good comedy and look at Marion Davies, C. Aubrey Smith and other fine actors of the day. And a look at a young Ray Milland who's acting would grow by leaps and bounds to make him a leading star for more than four decades.

Perhaps the most unusual aspect about The Bachelor Father is the fact that the subject matter entailed has rarely been exploited in more recent,"enlightened" times to this extent, unless as a comedy where the man is befuddled by children (way too many of those types). C. Aubrey Smith is outstanding as Sir Basil Algernon "Chief" Winterton, a crusty old rake who desires to gather his illegitimate children together now that he's reached his elder years. The problem is one of these children, Marion Davies as Antoinette "Tony" Flagg, is not really his child. While Davies is enchanting enough, her films are generally not up to "A" picture status because they're usually missing the support of such actors as Smith. Davies is charming, enchanting, and genuine in this film.

The film has a common theme found in many Depression era films, which is someone being elevated or rescued beyond or from financial/social status. With this in mind, it's easier to forget the contrived nature of the characters developed and plots resolved from this period. The highlights of the film are the interactions between Davies and Smith. Ralph Forbes as John Ashley, Guinn "Big Boy" Williams as Richard Berney, and a very young Ray Milland as Geoffrey Trent are pretty much window dressing in a film based on a stage play by Edward Childs Carpenter. Robert Z. Leonard directed and co-produced with Davies. This pre-Hayes code film was originally banned and/or had dialog censored during its initial run. **1/2 of 4 stars.

Attracted to this by discovering the free and easy joys of Pre-code, which I take to be up to 1934, movies, I was surprised by some clumsily handled late information inserted into the film; For the entire film there has been the breezy exposition that Sir Basil (C. Aubrey Smith) has had a widely travelled early life and fathered children all over with women he seems to barely remember in most cases, referring to a log book of his conquests. He is a BACHELOR FATHER! Everyone, included his rediscovered grown-up children seem to accept this without judgment.

Then late in the piece Sir Basil is meeting with his lawyer and there is a mumbled exchange about documents and Sir basil refers to 'the fourth divorce'. So, we are suddenly meant to say to ourselves "oh, he was married all the times of these offspring's!" This is quite jarring to the spirit of the film and seems like the type of compromise forced into scripts after the full enforcement of the Production Code in later years.

I'd be curious to learn whether this information was in the original play.

That loveable old curmudgeon C. Aubrey Smith has one of his greatest roles (and perhaps his only leading film role) as an aging wealthy Playboy who has three illegitimate children he wants to get to know in order to have someone to leave his estate to. They are Marion Davies, the daughter of a deceased American chorus girl, Ray Milland as a young version of Smith himself, and the Spanish born Nina Quartero.

The three descend on his house with gusto, basically turning it upside down, and all of them, particularly Davies, wins him over. But there's a secret that Davies doesn't know, and it's really too late because she's kind of thinks of Smith as the father she never had, and of the three, she's the most devoted and gives him the challenge he enjoys. While it is obvious where this is going, it is fun to watch unfold, and both Smith and Davies are outstanding in their performances.

Ralph Forbes (as Davies' love interest), Doris Lloyd (the villain here, a nasty trouble making relative) and Guinn (Big Boy) Williams (as Davies' maternal half brother) offer fine support, and the direction by Robert Z. Leonard is first rate. The mixture of comedy and romance and pathos makes this work very well, and it's one of the few films where the subject of illegitimate children comes up as aggressively as it does in this pre-code film. One of the best films of 1931, it's fresh and lively and well worth seeing. Smith, never nominated for an Academy Award, could easily have been a best actor contender for this one.