Basil Rathbone: Master of Stage and Screen

Winthrop and Mary meet at a restaurant and hit it off—a little too well. Winthrop praises the article and confesses how he feels about Isabel and their marriage. Mary, who never wanted to get involved in their marital troubles, tells Winthrop that Isabel wrote the article and she's the one who deserves the praise. They part on friendly terms.

Isabel now believes that her husband and her friend have fallen in love, and Winthrop has betrayed her. In a huff, she leaves him, and sails to Europe.

On the ship Isabel meets a charming gentleman named Carl (Basil Rathbone), and she finds him intriguing. Her dinner companion for the remainder of the voyage, he is interested in discussing literature, always tactful, and in subtle ways flattering. He seemed to be a perfect gentleman.

One of the best society dramas produced by Universal for some time. The strength of it comes from the fact that not only is the story strong but it has been acted well. The heroine's part is taken by young Genevieve Tobin, a stage actress, who is beautiful and acts well. In her part she is supported by Rose Hobart, also a stage actress, who takes the part of the hero's wife. Her work is excellent, but her part lacks sympathy. Conrad Nagel takes the hero's part. The picture has been produced lavishly, and the atmosphere of a wealthy home is realistic. The most dramatic situation is that which shows the wife of the hero returning from abroad, not a divorced woman, but bent upon taking her place in her home: The hero, having taken it for granted that his wife would have gone through with the divorce proceedings, as she had stated she would do, marries the heroine. Miss Tobin acts wonderfully the part of a young woman, mortified as a result of her having discovered that she was married to a man who had not been divorced. The title is derived from the words, "The lady surrenders," uttered by Miss Hobart, when she, realizing how much Miss Tobin and Conrad Nagel loved each other, decides to go to Reno to obtain a divorce, so as to make the legal marriage of the two lovers possible. Miss Tobin had proved to her that she was sincere in her love of Nagel when she stepped in front of an automobile to take her life away when she had found out that Miss Hobart would not give up Nagel.

The cause of the first estrangement was the fact that Miss Hobart devoted her time to writing novels and to having grand parties with her society friends, neglecting her husband. The hero felt great pleasure at the company of Miss Tobin, a friend of his wife, who had visited them. The sympathetic attitude of Miss Tobin made life pleasanter for him, until he fell in love with her; and as she, too, had fallen in love with him, both felt they would find happiness in their marriage.

The plot has been founded on John Erskine's novel, "Sincerity." It was directed by John M. Stahl with intelligence. Basil Rathbone, Edgar Norton, Carmel Myers, Franklin Pangborn and others are in the cast. The talk is clear.

—Harrison's Report, September 27, 1930

Isabel settles in Paris. She spends her time writing short stories, visiting book stalls, and then going to a matinee or to the Louvre or some other cultural thing. One day, Isabel runs into Carl, who is delighted to see her again. He invites her to dine with him, and she accepts. She finds him courteous and charming. He is interested in hearing Isabel read her stories to him. Feeling lonely, Isabel is susceptible to Carl's flattery; she appreciates the praise he gives her.

The next day Carl moves into the hotel room next to Isabel's room. His conduct has been beyond reproach, so Isabel has no reason to be concerned about his motives. But that night, as she sleeps, Carl unlocks the door between their adjoining rooms, comes to her bed and makes love to her. Although she had not invited him to her room, she doesn't kick him out of bed. Her resolve to refuse him melts under his kisses. She surrenders!

The month that followed is like a honeymoon for Isabel and Carl, although they are not legally married. Declaring his love for her, Carl says that they are married now, just without the papers. In private he makes passionate love to her, and worships her body with unfailing tenderness. In public, however, he behaves in a courtly manner. He is chivalrous and considerate; no one would guess that they were lovers.

And then one day, quite unexpectedly, Carl disappears! In response to Isabel's query, the maid informs her that Carl left during the night with an actress who had also been staying in the hotel. How could he be so cruel?

Isabel had been eager to get her divorce so that she could be legally married to Carl. Now she is no longer interested in pursuing the divorce. She writes to Winthrop, telling him she changed her mind.

Universal announced early this season that the company intended to strike off on a new tack, making a high class of pictures aimed for the best theatres everywhere. If this one is a sample of what may be expected throughout the year, the company should be in for a banner season. Carl Laemmle, Jr., has demonstrated his ability to turn out good pictures, and he certainly can be proud of this one. It is one of the highest quality pictures ever turned out by the company and should prove a box-office hit, provided exhibitors get behind it.

The picture is designed purely for adult consumption. There is nothing in it for the kiddies, and the wise showman will govern his advertising appeal accordingly. It is a frank and diverting story of a mismarriage, the husband finding his wife not suited to him by inclination and temperament, and falling in love with the wife's girl friend.

Direction is capital throughout, the interest being well sustained, save for some drawn-out sequences about the middle of the picture. These can be trimmed without at all hurting the story's development. As it stands now, the picture is too long, running one hour and 42 minutes.

Rose Hobart and Genevieve Tobin turn in splendid performances as the wife and the other woman, respectively. Miss Hobart has the far more difficult part and certainly puts it over in splendid fashion. Miss Tobin is an attractive and capable trouper. Conrad Nagel is very good as the husband and the remainder of the well-balanced cast includes Basil Rathbone, Edgar Norton, Carmel Myers, Franklin Pangborn, Vivian Oakland and Grace Cunard.

Winthrop Beauvel (Conrad Nagel), well-to-do manufacturer, is married to Rose Hobart, a successful novelist bored with her husband. She is the author of a bitter article on marriage. Winthrop reads the article and writes the author (the article having been published under a nom de plume) and makes a date with her to discuss the article.

Isabel sends her friend, Genevieve Tobin. The two spend the evening together. Winthrop is forced to spend the night in a hotel because of a heavy rain and Isabel accuses him of unfaithfulness, packs her bags and starts for Europe with the avowed intention of seeking a divorce.

En route she meets Carl Vaudry, a continental philanderer, falls in love with him and upon her arrival in France sets about to obtain a divorce. On the day the divorce is to be granted Vaudry jilts her. She drops the case and returns to America.

In the meantime, Winthrop, thinking himself divorced, marries Mary. They return from their honeymoon the same day Isabel lands. A violent scene between the two women ensues and Mary finally dashes from the house and attempts suicide by throwing herself in front of an automobile. She is only slightly injured but the effect is softening on Isabel, who agrees to go at once to Reno and obtain a divorce, pronouncing the love of Winthrop and Mary too deep for her understanding.

A story with unusual twists, well developed and finely acted. Effort will be needed to get them in, but if given the help it deserves this should be good box-office fare, and it surely will please.

Reviewed by Charles F. Hynes

—Motion Picture News, September 27, 1930

Meanwhile, back in New York, Winthrop and Mary have been romantically involved with each other. Thinking that Isabel has gone through with the divorce, Winthrop marries Mary. He doesn't receive Isabel's letter until he and Mary return from their honeymoon. Mary is horrified to learn that she is not legally married to Winthrop, and when Isabel returns, she and Mary have a violent argument. Mary is so upset that she attempts suicide. Isabel finally "surrenders" and leaves Mary and Winthrop. She agrees to divorce Winthrop.

The ending of the film is very different from that of the book. In the novel Sincerity, Isabel returns to Winthrop after living in Europe for ten years. She shows up at his doorstep because she still loves him. Winthrop had not granted her a divorce, so he and Mary were both aware all along that he was still legally married to Isabel. Winthrop and Mary have been sharing a home, and Mary is known in the community as "Mrs. Beauvel." But they live together more like brother and sister than husband and wife: affection—yes, friendship—yes, emotional support—yes, sex—no. When Isabel returns, Mary packs up and leaves—quietly and without drama. Isabel intends to stay with Winthrop, but he doesn't love her anymore. The implication is that he won't allow her to stay with him. The ending is unsatisfying and not nearly as interesting as the beginning.

In A Lady Surrenders, Rathbone "was pronounced by the critics as 'accomplished,' 'gifted,' 'rare ability,' 'excellent,' etc. I shall ever recall that never-to-be-forgotten kiss he gave Rose Hobart in that picture; it will be a constant reminder that the polished, smooth drawing room manners may be but the velvet covering of a masculine volcano. Basil Rathbone has the shoulders of a football player, the strength of a lion in his hands and wrists, and all of the grace and superb manners of the perfect cavalier." —Anita Delglyn, "A Diamond—Not in the Rough" (Broadway and Hollywood Movies, March 1931)

Universal offers in this adaptation of John Erskine's novel, "Sincerity," one of the most pleasing and satisfying pictures on the current schedule of screen entertainment.

Aside from excellent direction and acting, the picture has to its credit dialog that is spontaneous. A fine piece of work has been done by Arthur Richman in this respect.

"A Lady Surrenders" has two in the cast who are comparatively new to the screen—Genevieve Tobin and Rose Hobart. Both have given such finished performances that it is safe to predict that they will be in demand in future castings.

Miss Tobin is at her best in the serio-comic role such as she portrays in this picture. She has a personality that is more adaptable to the screen than to the stage. Her diction is well-nigh perfect.

The dramatic role is the more suitable for Miss Hobart and she, like Miss Tobin, has been excellently cast in this film, She has a full voice that records well. In appearance, she has a peculiar type of beauty which is apparent whether the part she is playing requires beautiful gowns or the dress of a servant.

The screen can well accept stage players of this calibre.

Conrad Nagel is the other outstanding player of this cast, and in the opinion of this reporter, his portrayal ranks among his best. "A Lady Surrenders" really offers only three roles of importance, and the choice of the casting director was commendable.

"A Lady Surrenders" is unusual as all of John Erskine's stories are. Briefly, it is the story of a man who unwittingly becomes a bigamist when his wife, who had advised him from Paris that she was divorcing him, resorts to the woman's prerogative and changes her mind. Stubborn at first, the wife finally surrenders and departs for Reno for a divorce so that her husband and his new love may live happily ever after.

Action of the picture, due to the fine direction by John M. Stahl, runs exceptionally smooth.

"A Lady Surrenders" ranks high as entertainment.

—Jay M. Shreck, New York City

—Exhibitor's Herald World, September 27, 1930

Production on A Lady Surrenders began in July 1930, but Basil Rathbone wasn't added to the cast until August 19. One issue may have been some uncertainty about whether or not Rathbone was available. He had accepted the lead role in The Boudoir Diplomat, the film version of The Command to Love, in which Basil starred on Broadway.

A short time later, Rathbone was out of The Boudoir Diplomat. Rumors and conflicting reports concerning this event circulated:

Whatever the reason, Rathbone walked out on The Boudoir Diplomat, and that left him available to take the role in A Lady Surrenders. He wasn't eager to accept the role, however, because the part was too small. After some negotiation, Rathbone accepted the role (Variety, August 20, 1930).

A Lady Surrenders was released on September 27 in eight big key city theatres: Boston, Lowell, Providence, Rochester, Chicago, Toledo, Kansas City and Minneapolis. The film was a big hit, and was held over for three weeks in several cities. It was generally released on October 6.

By mid-October the film was still being reported as a "smashing success" and a "box office wonder."

First-Class Entertainment. Acting and Direction Noteworthy in an Appealing Story. Should Click Everywhere.

Adapted from John Erskine's "Sincerity," and aided by the splendid acting of Conrad Nagel, Rose Hobart, Genevieve Tobin and Basil Rathbone, John M. Stahl has turned out a picture that looks like a sure box-office bet. It is a trifle long, but that doesn't clip the merits to any appreciable extent. Principally, it is entertainment, good entertainment and possesses the finer qualities of a dramatic achievement. Its story is simple, telling of an author-wife who doesn't realize the love her husband is trying to give her until it is too late. A Friend has awakened the disconsolate husband to the joys of living and loving at the same time, and he accepts this life not realizing that his wife, who has had an affair in Paris and "thrown over," would return and reclaim him. Realizing that the husband has unintentionally become a bigamist through her fault and that she is not wanted, the wife steps out of the picture, and leaves well enough alone.

—The Film Daily, September 21, 1930

Genevieve Tobin gave up the lead in the Broadway stage production of Fifty Million Frenchman to become a featured player in A Lady Surrenders.

Rose Hobart also left a successful career on the stage and signed a contract with Universal. She worked with Basil Rathbone again in Tower of London (1939).

Conrad Nagel was a star and idol of silent films. He made a smooth transition to sound films and continued to be popular. Conrad Nagel and Genevieve Tobin starred together again as husband and wife in another 1930 film produced by Universal—Free Love.

A Lady Surrenders was Director John Stahl's first talking picture for Universal.

"Pleasant Surprise of Season. A Lady Surrenders is smart and sophisticated bit of talkie fare. One of the pleasant surprises of the talkie season. Cleverly directed. Perfectly acted." —Boston Post

"A Lady Surrenders is notable for its charm and taste. A woman's picture with excellent performances by principals." —San Francisco Chronicle

"Worth Seeing Twice. The movie goer who waits for good pictures has found something well worth remembering in A Lady Surrenders. It is a cinema dish fit to set before a king." —Detroit Evening Times

"The photoplay is not too skillfully assembled and could be cut to advantage. The lines, when they are epigrammatic, not always are happy, but on returning to the business at hand they are usually apt. Technically, what with the changes in lighting at moments and the recording, which at times does not quite synchronize with the lip movements, the production is not remarkably expert; but, due largely to Miss Tobin's charm, Miss Hobart's apparent intelligence and Mr. Nagel's earnestness in the role of the husband, 'A Lady Surrenders' offers a diverting few hours." —New York Times, October 4, 1930

Sort of society drama Paramount likes to do, and now and then Metro, too, but Universal—never. U tried and missed. Picture is not a bad production of the plot at hand, but as a talker for any type of audience, fails from all angles. Too stilted, slow, talky and punchless. For sophisticates it holds more than for others, but even these will resent its dragginess. For non-sophisticates it's too sophisticated. For children nothing at all.

With Conrad Nagel to show them how to do it, it's surprising how Genevieve Tobin and Rose Hobart didn't locate the right diction for the average talker audience. Nagel's is in between two extremes and with it he seems to have struck the proper medium.

Misses Tobin and Hobart cling to the stage idea of ultra-English pronunciation and talking style. That gets laughs instead of interest in most picture theatres. Basil Rathbone, who really is an Englishman, is the only one of the film's featured quartet with a reason to talk like that, because he plays European. Miss Tobin and Miss Hobart play Americans in this story. The only American talking like English are Park avenue kepties, and they are terrible both ways.

Interesting twist midway in the John Erskine yearn that deserved a much better setting. Better talkers have been considered good on flimsier situations than Erskine's.

A wife goes to Europe for a divorce. While there she notifies her husband in Philadelphia by letter that the decree will be granted on such a date. The day after that date the husband, believing himself free, marries another woman. But the wife's reason for wanting a divorce skipped with an actress. She changed her mind about the Paris decree. Didn't show in court and the case went out the window. Too late, she writes to her husband advising him of her change of mind. The letter arrives on the day the husband returns from the honeymoon.

Wifey refuses to grant a divorce and clear up the situation for the husband, and the woman he loves. Less so when the woman he loves steps in front of an auto and wifey repents and gives in—"the lady surrenders," says she.

The playing, all but Nagel and Rathbone's, isn't good. Affair creeps. It's doubtful whether it would seem much faster with cutting. Ran 95 minutes, pretty long, at the Paramount, and seemed longer.

The husband and his new wife, whom he thinks he married, and vice versa, do so much mugging and kissing after returning from the honeymoon that it seems they should have remained away a couple of more weeks or years longer. Then Universal could have saved money and audiences wouldn't snicker.

Bige.

—Variety, October 8, 1930

"Should Keep House Packed. A Lady Surrenders is one of finest and best talking pictures ever made. Brilliant dialogue ... amusing if sometimes risque situations. Flawless direction, splendid recording. One of the REAL talkies. Splendid performance by four principals." —Helen Harris, Detroit Daily

"Beautiful clothes and sets, good acting and excellent spoken English, are all that can be said for this rather boring story--of husbands and wives shifting their affections with no very good reasons shown. Cheap playing-up of sex interest, both in story and title." —The Educational Screen, October 1930

"Four Stars in Smart Film. A Lady Surrenders. Very bright and sophisticated. Quite a different story. Acting, direction and dialogue well out of usual. Bright and breezy situations and dialogue to match. A very delightful hour on screen. Nothing conventional, nothing dull. That should be sufficient praise for any picture." —Gordon Hillman, Boston Daily Record

"Good entertainment and good acting. Don't miss this." —Screenland, December 1930

"A Lady Surrenders is well-dressed, literate, entertaining, admirably acted. Finely considered and mature playing of Rose Hobart and quiet charm of Genevieve Tobin." —Boston Herald

"A triangle play based on the novel Sincerity by John Erskine (but avoiding some of the novel's problems), in which the insincere and selfish wife finally realizes that her husband has found true love and companionship in another woman. Although somewhat melodramatic it is well constructed, logical throughout, and excellently acted. It is good entertainment for adults." —Motion Picture Reviews, November 1930 (Reviews by The Motion Picture Committee of The Women's University Club)

"A delightfully interesting and tense story, which is a credit to Universal." —Broadway and Hollywood Movies, December 1930

"One of most scintillating dramas of sophisticated school ... The excellence of A Lady Surrenders is general. Faultless cast." —Detroit News

One of the best pictures of the season. In naturalness of story, dialogue, acting, and direction, picture is almost perfect.

Plot unrolls a drama of husband, wife, and wife's friend. Wife does not appreciate how good a husband she has. Her friend falls in love with him and tries to take him away. Wife balks until she realizes her friend's great love then she "surrenders."

Stahl did splendid job of directing. Conrad Nagel and Genevieve Tobin are a great team. Their wok is superbly natural. Rose Hobart is great as the heavy. A fine cast includes Basil Rathbone, Edgar Norton, Carmel Myers, Vivien Oakland, and Franklin Pangborn.

Kerr.

—Inside Facts of Stage and Screen, October 25, 1930

"We recommend a visit to A Lady Surrenders at once. Smart, sophisticated story in excellent taste and superbly performed by Genevieve Tobin, Rose Hobart, Conrad Nagel and Basil Rathbone." —Boston Traveler

"A Lady Surrenders ... brilliant comedy. Scintillating, spicy, exceptional and entertaining." —Detroit Free Press

"A Lady Surrenders is a peppy film. As refreshing as an east wind after a hot spell. Situations out of common run presented in amusing vein. Rattling good dialogue ... acting above par ... excellent direction ... One can recommend it for entertainment." —Boston Evening American

"Daring Story of Married Life. Theme of A Lady Surrenders is forbidden love." —San Francisco News

"A Lady Surrenders Best Original High Comedy on Talking Screen. Splendidly acted by a blue ribbon cast." —San Francisco Examiner

"We saw a picture they called A Lady Surrenders, with Conrad Nagel and some other folks and two or three women. The picture was well named, all right, for about all one girl did was to surrender. She carried a white flag around with her and every time Conrad saw it he ran over to her and captured her, and then would ensure a kissing match that would start a fight between the tomcats out in the alley." —J.C. Jenkins, Exhibitor's Herald World, November 8, 1930

Two new finds for the sound screen, and both in one picture! One is Genevieve Tobin and the other is Rose Hobart. Each is well known to the stage and each fits the sound screen as though born to the purple.

The picture, illuminated by the presence of these two extraordinary personalities—and they are extraordinary—is "A Lady Surrenders," which is an added evidence of the revival of excellence and a bid for screen leadership on the part of Universal. Carl Laemmle, the father, can be proud of Carl Laemmle, the son, for the production is another one of this young genius' successes.

"A Lady Surrenders" is from the story by John Erskine and was directed by John M. Stahl. It is a triangle—two women and one man, the man being Conrad Nagle. In brief, the story demonstrates the futility of fooling with the affections of a good man and evidences the old rule that the other girl will get him if you do.

In the cast are Basil Rathbone, Edgar Norton, Carmel Meyers, Franklin Pangborn, Vivian Oakland and Grace Cunard and a superb selection it is. The picture is beautifully played, charmingly scened and an offering of the very highest class. It opens at the Paramount Theatre on October 3 and will be a distinct dramatic ornament to that distinctive house.

A.J.

—Exhibitors Daily Review and Motion Pictures Today, September 26, 1930

"A Lady Surrenders was a pleasant drawing-room comedy, which entertained its audiences, but left them with no lasting impression." —Michael B. Druxman, Basil Rathbone: His Life and His Films (Hardcover: South Brunswick and New York: A.S. Barnes, 1975) Paperback edition: BearManor Media, 2011.

"Sophisticated, Clever, Amusing, Unusual. A Lady Surrenders directed with finesse. Dialogue exceptional. Domestic comedy with daring situations handled with such intelligence that there is nothing that might offend." —Boston Globe

If a copy also exists in the Universal Studios archives, we can hope that Universal will one day make the film available for us to watch.

In 1944 a British film with the same title was released, but it was a completely different story, and not a remake of this film. The 1944 film (also called Love Story) starred Margaret Lockwood and Stewart Granger.