Spotlight: Sexy Pre-Code Shearer (Post One)

Welcome to another Film Friday! As I have mentioned in previous weeks, I’m not much for modern cinema; I’ve only seen two new movies in the past year —  THE GREAT GATSBY (a mediocre Luhrmann special) and OZ: THE GREAT AND POWERFUL (a film completely lacking in humanity). I suppose I am a bit of a film snob. But I have to be honest with you: my preferences have always been television and theatre. Movies are a definite third. Most of my love for film stems from an appreciation for the wonderful actors and personalities that have shaped American cinema, and on a larger scale, the American culture.

Today’s post is the first in a series that will highlight films from Norma Shearer’s Pre-Code talkie years (1929-1934).


Norma Shearer (1902-1983) was once known as the “Queen of MGM.” Arriving in L.A. in 1923, Shearer was among those cast in the newly formed MGM’s first official picture, He Who Gets Slapped (1924). From there she became a major box office draw and was one of the studio’s biggest stars. Of course, it didn’t hurt that in 1927, she married L.B. Mayer’s righthand man, producer Irving Thalberg. Then with the advent of talkies, Shearer’s success grew. In 1930, her career rocketed when she received an Oscar for her role as the sophisticated modern wife in The Divorcee (1930). With a new persona in place – sexy, modern, and fun-loving – Shearer became the “Queen of MGM.” Though her image cleaned up with the implementation of the Production Code in 1934, Shearer continued to thrive in big-budget costume drams. After Thalberg’s death in 1936, Shearer continued to make films until her retirement in 1942 at the age of 40. Remembered today as a “perpetual virgin” in the post-Code films of the late ’30s, her role as Queen has often been subject to harsh debate. Fortunately, with the recent release of many of her Pre-Code films, audiences can once again see why the daring Norma Shearer was indeed the “Queen of MGM.”


Today’s post will cover two of her Pre-Code talkies: The Divorcee (1930) and A Free Soul (1931).


The Divorcee (1930)

When a woman discovers that her husband has been unfaithful to her, she decides to respond to his infidelities in kind.

Starring Norma Shearer, Chester Morris, Conrad Nagel, Robert Montgomery, and Florence Eldridge. Based on a novel by Ursula Parrott. Treatment by Nick Grindé and Zelda Sears. Continuity and Dialogue by John Meehan. Directed by Robert Z. Leonard.


This is the picture credited with ushering in a wave of sexy, sophisticated women in film. The Divorcee, an 83-year-old marital drama is still interestingly fresh. With performances that are delightfully understated, dialogue that sparkles with truth, and characters that seem TOO MODERN to exist in 1930, this is a very enjoyable watch.

Here’s the plot in a nutshell: Shearer’s husband, Morris, has an affair with another woman. So while he’s away on business, Shearer decides to sleep with his best friend, Robert Montgomery. Upon Morris’s return, Shearer confesses and begs for forgiveness, but when he insists that her infidelity is worse than his, she decides to leave him with this wonderful monologue:

“And I thought your heart was breaking like mine. But instead you tell me your man’s pride can’t stand the gaffe. I don’t want to listen. I’m glad I discovered there’s more than one man in the world, while I’m young and they want me. Believe me, I’m not missing anything from now on. Loose women…great, but not in the home, eh, Ted? Why, the looser they are, they more they get. The best in the world, no responsibility! Well, my dear, I’m going to find out how they do it. So look for me in the future where the primroses grow. And pack your man’s pride with the rest. And from now on, you’re the only man in the world that my door is closed to!”

Adding to the story is Conrad Nagel, who has always loved Shearer, despite being married to another woman out of obligation. The plot is engaging enough. But most viewers are going to see this film for Shearer, who in addition to looking magnificent, turns in a layered performance of heartbreak, gaiety, and honesty. Seeing 1930 lust is exhilarating. Especially when it’s handled tastefully by professionals, as it is here.


A Free Soul (1931)

An alcoholic lawyer who successfully defended a notorious gambler on a murder charge objects when his free-spirited daughter becomes romantically involved with him.

Starring Norma Shearer, Lionel Barrymore, Leslie Howard, Clark Gable, and James Gleason. Based on a book by Adela Rogers St. Johns. Based on a play by Willard Mack. Adaptation by Becky Gardiner. Dialogue and Continuity by John Meehan. Directed by Clarence Brown.


Shearer’s third film after The Divorcee, A Free Soul presents another “liberated” woman – a gal who’s going to do just want she wants to.

Here’s the plot: Shearer’s alcoholic father, Barrymore, is a lawyer defending gangster Clark Gable. Though she’s engaged to Leslie Howard, Shearer and Gable hit it off and begin dating on the side. It’s mostly a physical thing on her part, but their feelings for each other soon deepen. When drunk Barrymore learns of their illicit relationship, he demands that his daughter stop seeing Gable. She agrees to give up her addiction if he gives up his – booze. When Barrymore falls back off the wagon and runs away, Shearer returns to Gable, who forcefully demands that he marry her. Leslie Howard reenters the picture and kills Gable for threatening Shearer. What to do? Get ill Barrymore to return and defend Howard.

With a bigger plot, more twists, and higher drama, A Free Soul may appeal to some viewers more than The Divorcee. I watched both films this week in preparation for this blog and the two other viewers with whom I watched preferred A Free Soul. However, I preferred them both equally. The acting in A Free Soul is first-rate, but The Divorcee has much more honesty. Meanwhile, although Gable’s character in A Free Soul was always represented as tough, his quick turn to domineering didn’t ring true. No fault to his acting, the script didn’t seem to offer a better transition. That quibble aside, the story in this film is probably more engrossing, as are the characters, who have desires that exceed the romantic machinations of those from the previous film.But in terms of sheer entertainment value, they both deliver and are equally worthy of viewing.

Mention should also be made of Shearer’s shear tight white gown that apparently to this day elicits gasps when seen on the big screen. Very sexy.

Screen shot 2013-07-11 at 11.31.08 PM


Both The Divorcee and A Free Soul added to Shearer’s popularity and created a boldness that justifiably earned her the title “Queen of MGM.” But don’t just take my word for it. Check out these movies, both of which have been released on DVD, and see for yourself!




Thanks  for sticking out another week with me! Tune in next Friday for a spotlight on two more Pre-Code Shearer films. And come back Monday for another Gershwin show that you’ve never heard of!