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Loyalties
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 De Levis is having a good time with his fellow guests. |
 De Levis |
Rathbone made Loyalties while he was in England in the early 1930s, a period when he also made After the Ball and One Precious Year. He was proud of his work in Loyalties, considering it the only acting job making his trip to England worthwhile. In his autobiography he wrote, "This picture and my performance in it received considerable commendation, and I shall always consider it to be one of my most fortunate experiences." (In and Out of Character, p. 71)
The film was released in 1933, a period of unrest and rising anti-Semitism in Nazi Germany, so the theme of anti-Semitism in this film was timely, and hopefully had a positive impact on viewers. In addition to highlighting the then-current anti-Semitic attitudes, the film reveals the social hypocrisy of the English upper class.
Loyalties was the first film in which Basil Rathbone and Miles Mander appeared together, but Mander also appeared in Tower of London (1939), Fingers at the Window (1942), The Scarlet Claw (1944) and The Pearl of Death (1944).
Alan Napier, best known for playing "Alfred" in the TV series Batman (1966-1968), also appeared with Basil Rathbone in the 1956 film The Court Jester.
The first time that Heather Thatcher and Basil Rathbone worked together was in Loyalties. She also appeared in Tovarich (1937), If I Were King (1938), and Above Suspicion (1943). She and Rathbone did not share a scene in Above Suspicion. Thatcher had a brief, uncredited role as an English girl who danced with "Richard" (Fred MacMurray's character).
Philip Strange, who played Major Colford, had also appeared with Basil Rathbone in the 1930 film A Notorious Affair.
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LOYALTIES GOOD BRITISH PRODUCTION OF GALSWORTHY CLASSIC APPEALING MAINLY TO THE CLASS TRADE. Basil Dean of Associated Talking Pictures has done quite well in talkerizing the John Galsworthy play. Because of the nature of the theme and the British treatment of the production, the picture will find its greatest appreciation among the more intelligent audiences. Basil Rathbone plays the part of the Jewish young man who fights for his principles against a group of English clubmen, including one who has robbed him but denies it, and who gang up to ostracise him. The theft case goes to court, and when the defense counsel learns of his client's guilt he puts his loyalty to his countrymen, thereby withdrawing from the case and allowing the Jew to win the suit and attain the vindication of his race which he sought. Romantic interest is slight, the only feminine angle involving the thief's unfortunate wife, nicely played by Joan Wyndham, who sticks to him even after she learns the truth about him. The Film Daily, October 26, 1934 |
"This didn't make much of an impact when it first came out and has made even less over the sixty-odd years that have since passed, but there does seem to be a movement towards recognizing it as a minor masterpiece. This is partly due to its behind-the-scenes creditsassistant director Carol Reed and editor Thorold Dickinson. It also has a lot to do with the restless camerawork which tries to inject some movement into a stagebound adaptation. That, and a remarkable shot of the climactic suicide gives Loyalties the feel of a student film. However it has too many of the faults of the period to be able to claim greatness. There's a lot of badly done stiff-upper-lip-ness going on which pushes it dangerously near a parody. The women are particularly prone to this: swanning around in nice frocks saying how thrilling or beastly it all is. The sound track is primitive and it's very studio-bound. In its favour are a rare film look at anti-Semitism and a wonderful courtroom scene in which most of the officials are bored stupid. It's not a film you could use to persuade people of the merits of 30s British cinema." It's not just Michael Powell: British Films of the 30s, 40s and 50s, www.britishpictures.com
 De Levis prepares for bed |
 After discovering that his money has been stolen, De Levis goes to speak to his host. |
"Based on a popular British play, this film is a mixed bag. Rathbone ... is good in the lead, but the direction is awkward and sometimes the plot seems to move in jerks rather than in an even flow. The British accents are also a little hard on American ears, with the actors occasionally slurring their dialog as well. Galsworthy died shortly before filming began but was said to have been pleased with the adaptation of his play. British audiences enjoyed the film and applauded after screenings." TV Guide Movie Database
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LOYALTIES This is a hard one to figure. Despite some very bad acting and a working script of considerable awkwardness, the essential vigor and challenge of the late John Galsworthy's play has broken through. its rating for America is fair to middling. Basil Dean directed and the credits indicate that Galsworthy, before his demise, did the scenario. It is hard to believe either. Story begins jerkily without preparing the audience. An important exchange of money essential to he plot occurs almost instantly and is not emphasized. For a long time those not familiar with the story will not know that DeLevis (Basil Rathbone) is a Jew, and that a certain vengefulness on his part is due to a slurring remark against his race. these items should have been sharply defined. Basil Rathbone, well known over here both in legit and films, plays DeLevis, and at times quite badly despite he also did the show and well. On the whole, however, barring an early tendency to effeminate the rich young Jew, his characterization is a reasonable approximation of the type of person the plot calls for. DeLevis is considered a cad by the other guests at an English house-party weekend. They dislike his aggressiveness, his wealth, his taste in dressing gowns. He has a keen perception and fully appreciates his position. When, during the night, $5,000 is stolen from his wallet he correctly guesses the thief. Story hinges upon the anti-Semitism of the well-bred English house guests. They are stunned at the hint of scandal against an army captain and try to buy off the social-climbing DeLevis with a membership in the Jockey Club. He is not to speak of his stolen money an in return he will be proposed for the club. But the well meaning friends of the larcenous captain can not carry out their part of the bargain, due to opposition to DeLevis by club members. In consequence, DeLevis causes a showdown, makes his charges publicly, and provokes a slander action. The play interwove more than one loyalty but the picture bears down chiefly on racial prejudice. At the end, the loyalty of the high-minded barrister to his professional ethics results in the army captain losing the case and committing suicide, while the loyalty of his friends is exposed to bitter disillusionment as DeLevis is fully confirmed in his charges. Melodramatics of she who plays the wife of the captain border on the ridiculous. Part is badly cast by American standards and on several occasions brings audience titters. Might be well to clip a couple of these sequences to eliminate the destructive jeering possibilities. Courtroom scenes, and much of the British detail will be absorbing. The men's diction finally becomes distinct enough for American ears, but British producers must watch the diction factor if aiming at the American market. Slurring of words is atrocious in the case of several of the women playing bits. Land. Variety, October 30, 1934 |
"In this British drama, based on a popular play, a wealthy young Jew goes to a weekend house party and finds himself victimized by anti-Semitic guests. To add insult to injury, his wallet is then stolen. The fellow exposes the pilferer and threatens to take him to court until the other guests, terrified of scandal, offer to make him a member of their exclusive club. It seems like a good offer until the other members express their racist reservations about his joining. the angered fellow decides to take it to court after all. The distraught thief is found guilty and subsequently suicides." Sandra Brennan, All Movie Guide
 De Levis tells Winsor of the theft. |
 De Levis |
"Galsworthy's Loyalties has such a well-put-together situation that once you get started on the film version, you will probably want to see it through. At first you will be a little irritated with the mannered performance of Basil Rathbone as the injured Jew who brings the charge of theft against the British captain, at once coming up against the problem of race and caste, but quickly his behavior proves very right for the part of the aristocratic, cultivated, and insulted man that he is supposed to be." J.C.M., The New Yorker, October 26, 1934
.You can watch Loyalties at archive.org
See Page Two for more pictures and reviews of the film. See Page Three for pictures of posters and promo photos.
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Loyalties is available on DVDRegion
2 (PAL format)
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