Lady for a Day
USA comedy
1933
bw 95 min.
Director: Frank Capra
CLV: $39.95 - available
           1 disc, catalog # CC1269L
Lady for a Day represented a watershed in the career of
Frank Capra.
The young director had been laboring at Columbia Pictures'
Poverty Row Studio, churning out 18 films in less than six years. He had moved
from low-budget programmers (That Certain Thing) to A-pictures (or what
passed for A-pictures at Columbia, like Submarine) . . . to the critically
respected Platinum Blonde and American Madness.But, despite good
reviews and an almost unbroken string of financial successes, Capra couldn't get
any respect from that bastion of official Hollywood -- the Motion Picture
Academy. Even though the Academy Awards were only a few years old at the time,
they were already established as the ultimate imprimatur of quality in the
industry.
In his autobiography The Name Above the Title, Capra admits to
being obsessed with the Oscars. The Miracle Woman and The Bitter Tea of
General Yen had been passed over. It was clear that the major studios
wouldn't dare admit that quality might arise from the slums of Poverty
Row.
Lady for a Day was the breakthrough: although it got left out of
the final awards, it garnered four nominations -- for Best Picture, Director,
Screenplay, and Actress. Real recognition would have to wait until next year,
when It Happened One Night won in the five most important categories --
Picture, Director, Screenplay, Actor and Actress -- a feat that would not be
duplicated until One Flew over the Cuckoo's Nest years later.
It's no
accident that Lady for a Day put Capra over the top, for it also
represented an aesthetic breakthrough. It's the first of his films in which all
his trademark themes came together, and all the lessons he had learned in his
low-budget apprenticeship jelled into a polished personal style. The struggle
between head and heart -- the conflict that underlies all his work -- had its
first full expression in this slight fable of camaraderie among the
outcasts.
Capra had purchased the rights to Madame la Gimp -- one of Damon
Runyon's earliest stories about the guys and dolls of the Broadway demimonde. The
story probably predates Runyon and has proven supernaturally durable: it has been
purloined for TV sitcoms time and again, and was remade (As A Pocketful of
Miracles) by Capra himself as his final feature. The central idea couldn't be
simpler. Apple Annie (May Robson) is an apple-peddling, gin-soaked bag lady who
harbors a deep secret. Though she appears to be the lowest of the low, she has
for years been putting her illegitimate daughter through a convent school in
Spain. Ashamed about her real identity, she writes letters to the daughter posing
as Mrs. E. Worthington Manville, a respectable society matron.
One day the
daughter announces that she will be arriving in New York with her fiance and
prospective father-in-law in tow. The latter (Walter Connelly) is a Spanish count
who wants to be sure that his son is marrying well.
The old lady's world
appears ready to collapse: she might be able to take the personal humiliation,
but she would literally rather die than see her social position destroy her
daughter's chances for happiness. Luckily for Annie, Dave the Dude (Warren
Williams) organizes his gambler/gangster buddies and they go to absurd lengths to
put up a front that will impress the Spaniards. Like most of Capra's major films,
it's a story of people discovering the value of doing good deeds with no personal
material payoff -- a forerunner to Mr. Deeds Goes to Town, Mr. Smith Goes to
Washington, Meet John Doe, and of course It's a Wonderful Life.
We can see, in
fully developed form, all the devices that became essential of the director's
style. Capra had learned to exploit the beauty of the average face: as Annie
plays Tchaikovsky on the phonograph, he presents a poignant series of close-ups
of her neighbors, just listening. He had discovered how to get away with the most
outrageous sentimentality: just have one totally cynical character on screen --
in this case, Ned Sparks as Dave's right-hand man -- to let us know that Capra
knew he was getting too sappy.
Capra, raised with the myth of the American and
educated to be an engineer, was half-Pollyanna/half-realist. His greatest movies
all express arguments between the optimist, who knows that miracles can happen,
and the hardheaded pragmatist, who knows that they don't. The optimist always
wins out: it is a sign of Capra's technical genius that his movies make the
toughest cynics believe (even if only briefly) in the very things their
intellectual faculties tell them aren't real.
-- ANDY
KLEIN
CREDITS
Director: Frank Capra
Screenplay: Robert
Riskin
From story by: Damon Runyon
Photography: Joseph Walker,
A.S.C.
Editor: Gene Havlick
Music Director:
Bakaleinikoff
TRANSFER
This edition of Lady for a Day was
transferred from an archival 35mm print provided by Frank Capra, Jr.