Cynara


1h 15m 1932
Cynara

Brief Synopsis

Infidelity threatens a lawyer's marriage when his fling decides to steal him from his wife.

Film Details

Also Known As
I Have Been Faithful, Way of a Lancer
Genre
Romance
Drama
Adaptation
Release Date
Dec 24, 1932
Premiere Information
not available
Production Company
Howard Productions, Inc.
Distribution Company
United Artists Corp.
Country
United States
Screenplay Information
Based on the play Cynara by H. M. Harwood and Robert Gore-Browne (London, 26 Jun 1930).

Technical Specs

Duration
1h 15m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
9 reels

Synopsis

In Naples, as he is packing to sail away, Jim Warlock relates to his wife Clemency how he came to be involved in an affair that ruined their marriage and his carreer as a promising London barrister: Several months before, as Jim happily anticipates celebrating their seventh wedding anniversary, he sees his life as secure and pleasant, while his friend, John Tring, views it as smug and boring. Annoyed that Clemency is leaving immediately for Venice to help her younger sister Gorla avoid a scandal, Jim agrees to dine with Tring. At an Italian restaurant, Tring orchestrates an evening with two shop girls they meet named Doris Lea and Milly Miles. Jim enjoys himself, reluctantly, but throws Doris' address away when they part. A short time later, Jim has to judge a swimming contest and finds that Tring has arranged to have Doris there. She accepts the winner's trophy from Jim, then twists her ankle and is taken home in his car. Torn by his love for Clemency and his attraction to Doris, he succombs to the affair when she reveals that he would not be her first lover and that she will give him up "when the time comes." On their last weekend together before Clemency's return, Doris tells Jim that she would rather die than live without him. When Jim arrives home, he finds Clemency there. Their meeting is strained, and when Jim sees Doris again he trys to break with her. Because she has just lost her job, Jim agrees to meet her again, but just before their tryst he sends her a check and a sentimental note instead. He asks his secretary to deliver it, but Doris passes him on her way to meet Jim. When Jim arrives home, Milly is waiting, angry over his treatment of Doris. While they are arguing, a policeman arrives to announce that Doris has committed suicide and that Jim's note was found in her apartment. At the inquest, Jim refuses to reveal that he was not the girl's first lover and is blamed for her death, although he is not legally responsible. After he finishes his story, Clemency realizes that Jim had loved them both, but remains firm in her decision to let him leave on the next boat sailing from Naples. When Tring comes to talk to her, Clemency realizes that she still loves Jim and rushes to meet him on the boat.

Film Details

Also Known As
I Have Been Faithful, Way of a Lancer
Genre
Romance
Drama
Adaptation
Release Date
Dec 24, 1932
Premiere Information
not available
Production Company
Howard Productions, Inc.
Distribution Company
United Artists Corp.
Country
United States
Screenplay Information
Based on the play Cynara by H. M. Harwood and Robert Gore-Browne (London, 26 Jun 1930).

Technical Specs

Duration
1h 15m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
9 reels

Articles

Cynara


A romantic melodrama about a marriage and career threatened by infidelity, Cynara (1932) features two of the era's biggest stars, Ronald Colman and Kay Francis, as a British lawyer and his wife. Happily married Jim Warlock falls prey to the seven-year itch, and succumbs to a brief affair with a shopgirl while his wife is away. Disastrous consequences follow. Based on a play and a novel, the film's obscure title comes from the refrain of an 1896 poem by Ernest Dowson, which was popular at the time: "I have been faithful to thee, Cynara, in my fashion."

Like all of Samuel Goldwyn's independent productions, Cynara was marked by the usual Goldwyn "tradition of quality," with top-notch talent both in front of and behind the camera. Frances Marion had written more than half a dozen silent films for Goldwyn; Cynara was her final film for him. It was the second of director King Vidor's four films with Goldwyn. Based on a play, Cynara could have been as static and dialogue-heavy as many early talkies were, but the master stylist of such silent classics as The Big Parade (1925) and The Crowd (1928) found ways to give the film visual interest as well. In one scene, Colman tears up a piece of paper and throws the pieces out a window, where they fly into the air. Vidor cuts to St. Mark's Square in Venice (where Francis is vacationing), with pigeons flying into the air. Vidor called such moments "pure cinema."

After three years in films, Kay Francis had become a star not because of her acting talent, which some felt was limited, but because of her glamorous and sophisticated screen presence. Francis herself claimed, "I'm not an actress, I'm a personality." She began her career at Paramount in 1929, and when the studio was slow about renewing her contract, she was snapped up by Warner Bros. in 1932. Her output that year was an astonishing six films. At least two - One Way Passage and Trouble in Paradise, the latter made on loanout to Paramount -- were superlative, and Francis was wonderful in them, giving probably the best performances of her career. Cynara, made immediately after Trouble in Paradise, was her second loanout in a row, and her last film of 1932. Francis had worked opposite Ronald Colman once before, in another Goldwyn film, Raffles (1930), which was her first starring role. Although she and Colman play well together in Cynara, her society wife is actually a supporting role. It is really Colman's film.

Goldwyn had signed Colman to a long-term contract after he made The White Sister with Lillian Gish in 1923, early in Colman's film career. He quickly became a star in silent films, and an even bigger star with the coming of sound, thanks to his beautiful speaking voice and cultured accent. Colman would stay with Goldwyn for ten years and eighteen films, but the relationship would end acrimoniously. By the time he made Cynara, Colman was typecast as the ultimate movie gentleman. His role in Cynara was within that mold. Although his character strays from his marriage, he redeems himself by protecting his mistress' reputation. Colman's performance received excellent reviews, but Cynara was only moderately successful. Audiences apparently didn't want to see Colman as an adulterer, no matter how classy. A greater threat to his gentlemanly image, both on and off screen, would come with his next film, The Masquerader (1933). The Prisoner of Zenda-like plot has Colman playing a dual role, as a degenerate politician, and as a journalist who takes his place when the politician collapses. To publicize the film, a Goldwyn press agent released a story that Colman prepared for his scenes by taking a few belts of whisky, and that he performed his love scenes better when he was loosened up by liquor. A furious Colman sued Goldwyn for libel and walked out on his contract. He never worked for Goldwyn again, but it didn't hurt his career at all. Still ahead were such critical and popular successes as A Tale of Two Cities (1935), Lost Horizon (1937), The Prisoner of Zenda (1937), Random Harvest (1942), and A Double Life (1947), which won Colman an Academy Award as Best Actor.

Kay Francis remained a top star for several years, but she never again had such good scripts as she'd had in 1932. By 1936, she was the highest-paid star in Hollywood, and a top box office attraction. Yet she accepted whatever the studio gave her, and never fought for better roles. Increasingly, she became nothing more than a glamorous clotheshorse in mediocre women's pictures. After her contract with Warners ended, her freelance films became even worse, and she worked infrequently in summer stock. Once, when she was appearing in a summer stock production in Maine, her former Warner Bros. colleague and rival Bette Davis went to see her backstage, and the two commiserated about their treatment by the studio. Davis asked Francis why she had put up with it. "I didn't give a s***t, Francis said. "I wanted the money." "I didn't," Davis replied. "I wanted the career."

Director: King Vidor
Producer: Samuel Goldwyn
Screenplay: Lynn Starling, Frances Marion, based on the play by H.M. Harwood and Robert Gore Browne, from Browne's novel, An Imperfect Lover
Cinematography: Ray June
Editor: Hugh Bennett
Art Direction: Richard Day
Music: Alfred Newman
Cast: Ronald Colman (Jim Warlock), Kay Francis (Clemency Warlock), Phyllis Barry (Doris Lea), Henry Stephenson (John Tring), Viva Tattersall (Milly Miles), Florine McKinney (Garla), Clarissa Selwynne (Onslow).
BW-75m.

by Margarita Landazuri
Cynara

Cynara

A romantic melodrama about a marriage and career threatened by infidelity, Cynara (1932) features two of the era's biggest stars, Ronald Colman and Kay Francis, as a British lawyer and his wife. Happily married Jim Warlock falls prey to the seven-year itch, and succumbs to a brief affair with a shopgirl while his wife is away. Disastrous consequences follow. Based on a play and a novel, the film's obscure title comes from the refrain of an 1896 poem by Ernest Dowson, which was popular at the time: "I have been faithful to thee, Cynara, in my fashion." Like all of Samuel Goldwyn's independent productions, Cynara was marked by the usual Goldwyn "tradition of quality," with top-notch talent both in front of and behind the camera. Frances Marion had written more than half a dozen silent films for Goldwyn; Cynara was her final film for him. It was the second of director King Vidor's four films with Goldwyn. Based on a play, Cynara could have been as static and dialogue-heavy as many early talkies were, but the master stylist of such silent classics as The Big Parade (1925) and The Crowd (1928) found ways to give the film visual interest as well. In one scene, Colman tears up a piece of paper and throws the pieces out a window, where they fly into the air. Vidor cuts to St. Mark's Square in Venice (where Francis is vacationing), with pigeons flying into the air. Vidor called such moments "pure cinema." After three years in films, Kay Francis had become a star not because of her acting talent, which some felt was limited, but because of her glamorous and sophisticated screen presence. Francis herself claimed, "I'm not an actress, I'm a personality." She began her career at Paramount in 1929, and when the studio was slow about renewing her contract, she was snapped up by Warner Bros. in 1932. Her output that year was an astonishing six films. At least two - One Way Passage and Trouble in Paradise, the latter made on loanout to Paramount -- were superlative, and Francis was wonderful in them, giving probably the best performances of her career. Cynara, made immediately after Trouble in Paradise, was her second loanout in a row, and her last film of 1932. Francis had worked opposite Ronald Colman once before, in another Goldwyn film, Raffles (1930), which was her first starring role. Although she and Colman play well together in Cynara, her society wife is actually a supporting role. It is really Colman's film. Goldwyn had signed Colman to a long-term contract after he made The White Sister with Lillian Gish in 1923, early in Colman's film career. He quickly became a star in silent films, and an even bigger star with the coming of sound, thanks to his beautiful speaking voice and cultured accent. Colman would stay with Goldwyn for ten years and eighteen films, but the relationship would end acrimoniously. By the time he made Cynara, Colman was typecast as the ultimate movie gentleman. His role in Cynara was within that mold. Although his character strays from his marriage, he redeems himself by protecting his mistress' reputation. Colman's performance received excellent reviews, but Cynara was only moderately successful. Audiences apparently didn't want to see Colman as an adulterer, no matter how classy. A greater threat to his gentlemanly image, both on and off screen, would come with his next film, The Masquerader (1933). The Prisoner of Zenda-like plot has Colman playing a dual role, as a degenerate politician, and as a journalist who takes his place when the politician collapses. To publicize the film, a Goldwyn press agent released a story that Colman prepared for his scenes by taking a few belts of whisky, and that he performed his love scenes better when he was loosened up by liquor. A furious Colman sued Goldwyn for libel and walked out on his contract. He never worked for Goldwyn again, but it didn't hurt his career at all. Still ahead were such critical and popular successes as A Tale of Two Cities (1935), Lost Horizon (1937), The Prisoner of Zenda (1937), Random Harvest (1942), and A Double Life (1947), which won Colman an Academy Award as Best Actor. Kay Francis remained a top star for several years, but she never again had such good scripts as she'd had in 1932. By 1936, she was the highest-paid star in Hollywood, and a top box office attraction. Yet she accepted whatever the studio gave her, and never fought for better roles. Increasingly, she became nothing more than a glamorous clotheshorse in mediocre women's pictures. After her contract with Warners ended, her freelance films became even worse, and she worked infrequently in summer stock. Once, when she was appearing in a summer stock production in Maine, her former Warner Bros. colleague and rival Bette Davis went to see her backstage, and the two commiserated about their treatment by the studio. Davis asked Francis why she had put up with it. "I didn't give a s***t, Francis said. "I wanted the money." "I didn't," Davis replied. "I wanted the career." Director: King Vidor Producer: Samuel Goldwyn Screenplay: Lynn Starling, Frances Marion, based on the play by H.M. Harwood and Robert Gore Browne, from Browne's novel, An Imperfect Lover Cinematography: Ray June Editor: Hugh Bennett Art Direction: Richard Day Music: Alfred Newman Cast: Ronald Colman (Jim Warlock), Kay Francis (Clemency Warlock), Phyllis Barry (Doris Lea), Henry Stephenson (John Tring), Viva Tattersall (Milly Miles), Florine McKinney (Garla), Clarissa Selwynne (Onslow). BW-75m. by Margarita Landazuri

Quotes

Trivia

Notes

The film's working titles were Way of a Lancer and I Have Been Faithful. E. M. Harwood and Robert Gore-Browne's play was based on Gore-Browne's novel An Imperfect Lover (London, 1928). The second title card to the film reads: "Inspired by Ernest Dowson's immortal lines-I have been faithful to thee, Cynara, in my fashion." The Dowson poem from which the lines were taken, Non sum qualis eram was written in 1896. The Charles Chaplin picture which "Jim" and "Doris" go to see during the film is A Dog's Life (1918). According to news items, Dorothy Hale was to have made her motion picture debut in the film in the role of "Clemency Warlock." Hale was listed on early Hollywood Reporter production charts, however, according to a August 30, 1932 Hollywood Reporter news item, she withdrew from the cast and was replaced by Kay Francis. Francis, who was under contract to Warner Bros., was loaned to Samuel Goldwyn for the role. According to reviews, this was Phyllis Barry's first American film. A news item in Hollywood Reporter on November 11, 1932, subsequent to this film's completion and prior to its premiere, notes that Colman had initiated a law suit against Goldwyn for $2,000,000 for defamation of character. For additional information on the dispute, consult the entry below for The Masquerader. Modern sources list one additional cast member, C. Montague Shaw (Constable). Modern sources also note that the picture was re-issued in 1945 under the title I Was Faithful. Other adaptations of the story include a July 6, 1953 Lux Radio Theatre broadcast starring Joseph Cotton, and a 1955 ABC Television drama.

Miscellaneous Notes

Released in United States 1932

Released in United States 1932