Synopsis
She wasn't a divorcee but she believed that strangers could kiss!
An alcoholic lawyer who successfully defended a notorious gambler on a murder charge objects when his free-spirited daughter becomes romantically involved with him.
1931 Directed by Clarence Brown
An alcoholic lawyer who successfully defended a notorious gambler on a murder charge objects when his free-spirited daughter becomes romantically involved with him.
Spiel mit dem Feuer, Io amo, Un alma libre, Der Mut zum Glück, Вольная душа, Свободна душа, Âmes libres, Uma Alma Livre
Why was Clark Gable considered "The King of Hollywood" when he played the same jackass in every movie?!!
This was a wild ride. As gambler Ace Wilfong, the role that reportedly made him a star (MGM reportedly got letter after letter asking for more of “the guy who slapped Norma Shearer”), Clark Gable is ferociously magnetic, and so sure of his own sexual prowess and charisma that it never occurs to him that a woman could turn him down and mean it. He’s very much a supporting character, but the movie burst into life when he’s on screen, if only because of the thrilling unpredictability of Ace.
The woman Ace is romancing and the movie’s focus is Jan Ashe (Norma Shearer, wearing extremely sheer gowns without a bra — it’s very racy), a fashionable young woman who is…
If the hat doesn't fit, you must acquit.
A Free Soul is known less for Lionel Barrymore's Best Actor-winning performance than it is for catapulting Clark Gable - who I just assumed was born with the moustache - from fifth billing to leading man stardom. While Gable's performance as a remorseless gangster is entertaining, one of the most impressive features of this film is just how slow it is, with a dry plot that focuses heavily on passionless romance and a detached take on alcoholism. The story is pulled further down by the droning, rough-edged quality of sound recording equipment at the time, which is awfully easy to tune out, especially when the pacing of the dialogue feels more like…
Father: “Don’t you wanna dance again?”
Daughter: “Darling, you already owe me a new pair of shoes.”
Father: “Are you suggesting that I’m not a good dancer?”
Daughter: “No, but we can’t both dance on my feet, you know.”
Father: “Meow! — Dwight’s a good dancer though, isn’t he?”
Daughter: “Yes, but he’s not as fascinating as you are.”
Oh, the pains of being the daughter of a fascinating man! I just absolutely adore the father-daughter relationship in this. They’re real pals, Lionel Barrymore and Norma Shearer. He isn’t ashamed to hand her her bra, she isn’t afraid to call him on his bullshit, and they both accept and love each other for who they are. So rare, these father-daughter…
“Say kid, you know, you’re certainly easy to look at.”
Starts out with a naked silhouette of Norma Shearer, giggling and asking Lionel Barrymore for her undies. So you assume you’re seeing the morning after a…transaction. The twist? Lionel is daddy. The two have an oddly affectionate relationship. Mom’s been dead for a while. They call each other darling, stroking each other’s hair, cowboy camp next to each other on a three-month long horseback riding/detox trip.
We’re led to believe that this uncomfortably close relationship is part of the reason for Jan’s (Shearer)—not necessarily wild—but unsettled, ways. She has the opportunity to live the quiet life with Great Polo Player Dwight Winthrop (Leslie Howard, with perfectly waved hair), but tosses…
A provocative Pre-Code drama about a free-spirited young woman (Norma Shearer), the slave-trading, opium-dealing gambler she loves (Clark Gable), and her alcoholic lawyer father (Lionel Barrymore), who just got the utter, utter bastard off a murder charge.
The film was celebrated at the time for Barrymore’s performance – which climaxes with a 12-minute, one-take courtroom speech best filed under ‘narratively preposterous’ – but by far the most interesting thing about it today is Shearer’s modern, naturalistic characterisation, which hurdles some sentimental obstacles to provide a vivid portrait of a passionate, straight-shooting and sexually open young woman, an impression never entirely banished by the moral lessons doled out at the finish. There’s a little of her standing around in gowns like…
What a tangled web of messages this pre-code drama weaves. You almost need an excel sheet to keep track of the different moral questions brought up, how director Clarence Brown and the six screenwriters (six!) intended for audiences of the time to react to each one, and what modern ears are supposed to make of each of them.
To illustrate: Shearer is Jan the Free Soul (so, good, right?), brought up to be that way by her loving father and ace defence lawyer Stephen (Lionel Barrymore) who's the one non-snobby, non judgmental member of a repugnantly snobby family (so, good). But, she and daddy have a closeness about them that borders on icky at times (she stands naked behind the…
"Yesterday you were farther away than the stars. And tonight... here you are."
Loved the way Jan (Shearer) looks at Ace (Gable) that first time they meet. Norma's best acting was when it seemed like she wasn't acting, which was pretty much every scene she had with Gable when the going was good.
Barrymore, as usual, brought so much authenticity to his character. Remarkable how convincing he is in every performance, even despite being more or less the same person in each instance. The thing he shared with Shearer's character seemed about as real as it gets.
Did not see that ending coming.
The Classic Film Challenge 2018
#8. Actors: Clark Gable
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This is my first Norma Shearer movie and I eagerly want to see more now as she is quite good in this pre-code drama about a woman and her father who run into roadblocks with their open life philosophy.
Shearer is captivating in this film and she reminds me of Barbara Stanwyck, her character's relationship with her alcoholic father played by Lionel Barrymore is quite nice as well. Clark Gable is in this film as a gangster freed by Barrymore as a defense attorney and who gets involved with his daughter Shearer. It's easy to see how this was a star-making turn for Gable as he definitely leaves an impression…
Norma Shearer, dang. One glimpse of her in that white satin bra-less gown is enough to make anyone a panting mush of neediness, no wonder why Clark Gable goes crazy here!
I think her "rivalry" with Joan Crawford had led me to believe Shearer was a prima donna and that she could only play quaint, goody-good women. I'm going to have to do a major course correction on that preconception, because in A Free Soul she's a determined and, yes, free-spirited woman who delights in her sexual freedom and independence. At least, that is, until Clark Gable in the performance that made him a star enters the equation as a villainous tough-guy hell-bent on possessing her. Gable's roughness really took…
Lionel Barrymore is an alcoholic lawyer and Norma Shearer is his daughter. They have a great relationship, and he has taught her to do as she pleases and answer only to herself. This sounds great, but only if you keep wisdom to guide you. She didn't in a relationship with gangster Clark Gable, and it comes back to bite her. James Gleason and Leslie Howard are in this also and make it a nice, if occasionally over-dramatic, film to watch on a lazy Saturday.