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Year: 1932

Director: John Cromwell

Cast: Miriam Hopkins, George Bancroft, Alan Mowbray

What’s with the weird title given the subject matter? I guess this was a rushed second choice to the original (Red Harvest) because they didn’t want any confusion with Daishell Hammett’s popular novel by the same name which had been published just three years prior. To be honest, if this wasn’t Hopkins in a steamy Pre-Code film, I probably wouldn’t have watched it after reading the synopsis. MH plays a Tsarist aristocrat on the lam with some of her contemporaries. The setting is during the 1919 Russian Revolution and the Red Brigade is looking to execute any of the monied classes of the current regime. They manage to narrowly escape via a train car to a safer city behind the skirmish line. Once settled, the privileged waste no time resuming their nonstop lifestyle characterized by black-tie dinners and the consumption of copious amounts of expensive wine and fine foods.

Kylenko (George Bancroft) is the leader of the Resistance and he and his minions descend on all this decadence with other ideas in mind. They crash the glamorous upper class setting and vulgarly grab the food right off people’s plates and brazenly mock the entitled. There is mayhem with frightened diners running everywhere. Except for Maria (Miriam Hopkins). She defiantly stays at her table and stubbornly orders the ruffians out of the establishment. The mob find her insolence under the circumstances humorous and Bancroft’s imposing soldier takes an immediate interest in the sexy aristocrat. He learns later that Maria was not born into wealth but managed to maneuver the class waters between the wage-earner and privileged sectors of Russian society. The Brigade takes its prisoners on a ship set to sail for a Revolutionary stronghold, where their captives will face trial for their lives.

Hopkins’ character and her friends realize that they must somehow get the ship turned around and headed to a friendly port along the Crimean coastline. They devise a plan to fool the navigator by messing with the ship’s compass so that it will display the opposite direction that the vessel is actually traveling. There’s just one problem: they need a diversion and her name is Maria. She pretends to have come to her senses and confesses to Kylenko that she knows her place is alongside her people. To prove her newfound loyalty, Maria makes it clear that she will sleep with him as a gesture of earnestness. The viewer witnesses some pretty intense Pre-Code moments when the elegant Ms. Yaskaya looks doomed to service this sweaty cad.

I was quite surprised when I saw the quality of this picture. The performances of the headliners are excellent and this happy outcome is in no small matter due to Cromwell’s deft handling of two tremendous egos. Bancroft’s temper was legendary and we’ve already covered Hopkins’ endless demand for retakes. The double entendres used by Hopkins are exquisite in their Pre-Code sumptuousness. There is another great scene where she continues to play the piano as if she hasn’t a care in the world while everything around her is in chaos.

By James White

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