Usually when we compare pre-code and post-code versions of the same movie, the big differences are in the tone or in dialogue of the films, with the pre-code example a more sophisticated -- and yet more earthy -- version of each.
In the case of the 1933 and 1941 versions of "Whistling in the Dark," however, the difference is more than that, and it comes down to the leads in both films -- the subtle, Broadway-inflected performance of Ernest Truex in the 1933 version and the more exaggerated performance of Red Skelton in the 1941 film, informed by his work on the radio and in vaudeville.
Opening on Broadway in 1932, "Whistling in the Dark" by Laurence Gross and Edward Childs Carpenter came to the screen in 1933 with two of its main leads intact -- Edward Arnold as gangster Dillon and Truex as Wallace Porter, a best-selling author of mysteries who is forced into planning a real-life murder by Dillon and his associates. The author of the screenplay and the film's director is our old friend Elliott Nugent.
Dillon works for crime boss Lombardo (C. Henry Gordon) and is trying to extort protection money from stubborn brewer Otto Barfuss (our old friend Joseph Cawthorn). When Wally and his fiancee Toby (Una Merkel), on their way to get married, encounter car trouble just outside of Lombardo's estate, Wally meets Dillon and brags about his crime-solving expertise. Dillon holds Wally and Toby captive at the estate until Wally formulates a perfect murder plan that the gangsters can use on Barfuss.
Since prohibition and its related opportunities for crime were a moot point in 1941, the later version of "Whistling in the Dark" changes the gangster's estate to a "sanitarium" run by cult leader Jones (Conrad Veidt), whose racket is charming wealthy old ladies into joining his group and then leaving their earthly belongings to him when they pass.
Wally tries his sponsor's product.
The 1941 film also changes Wally's character to someone much more suited to Skelton's style of broad, visual comedy. Wally is still a crime expert, but here he is "The Fox," the hero of a radio show who, every night, foils the bad guys and saves Carol (Ann Rutherford), an actress who is also Wally's real-life girlfriend. The scene introducing Skelton's character nicely establishes that premise and shows us some fun footage of a radio show being produced:
The opening also establishes that the 1941 version of Wally has not one but three women in his life -- Carol; Fran, the sponsor's daughter (Virginia Grey); and his business manager, Buzz (Eve Arden, not utilized enough). The evil Jones visits Wally and poses as a prospective sponsor for his show -- then when he gets Wally out to his estate, Jones forces him to plan the murder of an heir who is standing between Jones and a cult member's fortune. Carol and Fran end up at the mansion too, held captive with Wally.
In both films, Wally tries unsuccessfully to call for help, with Truex's underplaying taking the honors here -- he tries to make the call as quietly as possible and ends up mumbling into the mouthpiece:
The 1933 version of "Whistling in the Dark" contains several pre-code allusions, including cracks about bank failures and the stock market crash. Wally also drinks quite a bit. And there's an interesting scene that isn't in the 1941 version at all -- convinced that the gangsters will kill them, Wally and Toby lock themselves into a bedroom and exchange their wedding rings in their own ceremony. Toby then strips down to her camisole and hops into bed, ready to consummate the marriage while Wally flutters about, not knowing what to do.
On the other hand, there's a scene in the 1941 version that isn't in the 1933 film, and it's likely
inspired by the success of "The Ghost Breakers" of the year before, a haunted house movie with Bob Hope and Paulette Goddard. It involves Skelton, Rutherford and Grey trying to escape by following a secret passageway and running across assorted skeletons and mummies designed to supply a quick fright/laugh to the audience.
Wally does end up concocting a plan for murder that involves slipping poison into the victim's toothpaste tube. Once the gang leaves to implement the plan, Wally starts trying to contact the authorities by rigging up a radio to use as a transmitter. One of the denser gangsters finds out (played by Nat Pendleton in the 1933 film and Rags Ragland in the 1941 film), and Wally pretends he's doing a radio broadcast to throw the guy off. Here's how the scene plays out in both films:
When it comes to pacing, the 1941 version of "Whistling in the Dark" has it all over the 1933 version. The older version is too stagebound - it pretty much takes place in the one room where Wally and Toby are being held. And as good as Truex might have been on stage, his small stature and diffident comic manner don't translate very well to film. By contrast, for better or worse, Skelton pitches his performance to the back row, but it works. I'm not much of a Skelton fan, especially when it comes to his later sloppy TV performances, which can display a breathtaking contempt for the audience, but here he's fresh and funny.
The 1941 version of "Whistling in the Dark" was much more popular than the 1933 one -- so popular that Skelton appeared in two sequels. As for Truex, he alternated between Broadway and Hollywood, appearing in the films "Bachelor Mother" and "Christmas in July," among others, and the play "George Washington Slept Here," which was made into a 1942 film with Jack Benny. Truex also appeared in two episodes of "The Twilight Zone," including the classic "Kick the Can."
Between 1929-35, Lee Tracy appeared in more than twenty films as a reporter, shyster lawyer, press agent, publicity man, promoter, politician and puppeteer.
And in all of them he. Talked. All. The. Time.
Fast, and with authority, punctuating his words with jabs into the air. Or, when he is "contrite," spreading his fingers over his heart. Sometimes he uses this gesture so often that it looks like he's pledging allegiance to his co-star.
Tracy first found fame as Hildy Johnson in the stage production of "The Front Page," and although he didn't play Hildy in the 1930 film version -- Pat O'Brien did -- Tracy found himself typecast as the quick-thinking, ever-scheming, fast-talking operator who was just this side of a con artist.
In the 1933 film "Clear All Wires," for instance, Tracy is Buckley Joyce Thomas, foreign correspondent for the Chicago Globe. He's a freewheeling scoop machine given to dressing in military garb, and when the movie opens he's been missing for days, captured by enemy insurgents in Morocco. In reality, he's been treated like a king -- his unflappable style has charmed the leader of the group, who has given him an exclusive interview.
When Buckley is released, he is greeted with joy by his right-hand man, Lefty (James Gleason). Buckley's disappearance "shoved beer right off the front page," Lefty tells him. Buckley starts dictating his big story, even as his rival, Pettingwaite of The New York Times, pooh-poohs Buckley's methods. So Buckley takes a break from his story and lets him have it, in a standard Lee Tracy diatribe:
We then move to Russia, where Buckley has swiped Pettingwaite's hotel suite. He's there to cover the 15th anniversary of the Soviet Revolution, and he meets an old flame, Kate (Benita Hume), but it's hard to romance her because he has another old girlfriend, Dolly (Una Merkel) along. This makes for crowded quarters:
(Notice that the aria Dolly is practicing, badly, is the same one that Susan Alexander practices, badly, in "Citizen Kane.")
"Clear All Wires" is based on a play by Bella and Sam Spewack, and it has funny moments, but it's largely stagebound -- most of the action takes place in Buckley's suite. And the actual plot -- something about Buckley's battle with the Soviet secret police -- isn't really that interesting. Tracy keeps things hopping largely because Tracy himself keeps hopping. And talking.
The 1932 film "Washington Merry-Go-Round," on the other hand, has a stronger script that gives Tracy an actual character to play. He's Button Gwinnett Brown, a newly elected congressman who is a namesake and descendant of one of the signers of the Declaration of Independence. "His blood is bluer than one of Sophie Tucker's songs," we're told.
Brown takes his heritage -- and his responsibility -- seriously. He's heading for Washington in 1932, at the peak of the battle between the government and the "bonus army," World War I veterans who want an early payment of the bonus they're scheduled to receive in 1945. The bonus army has set up a camp across the river from D.C. in Virginia, and one of Brown's old Army buddies is a leader. He invites Brown to speak to the men, and what he tells them isn't exactly music to their ears:
Voted into office by the local political machine, Brown turns on his benefactors and lets them know he will be his own man in Congress. He's helped by Alice (Constance Cummings), who becomes his political mentor; she's also the daughter of his state's Senator (Walter Connolly). In the typical Tracy tradition, Brown makes speeches in the darndest places, including the Library of Congress:
"Washington Merry-Go-Round" offers odd little foreshadows of Frank Capra's "Mr. Smith Goes to Washington." The screenwriter, Jo Swerling, was a frequent Capra collaborator, but he didn't work on "Mr. Smith." Still, as in "Mr. Smith," Brown gets inspiration from a late-night visit to the Lincoln Memorial, and, as was the case with Claude Rains's character in "Mr. Smith," Alice's distinguished Senator father is revealed to be an unwitting partner of the movie's bad guy, power broker Norton (Alan Dinehart). Brown's friend killed himself over his involvement with Norton, so he becomes Brown's sworn enemy:
Like "Mr. Smith," "Washington Merry-Go-Round" tries to make nice with the powers that be before decking them with a sucker punch. The movie is "dedicated to those public servants in Washington who, despite the malignant force which operates to defeat the principles of representative government, are serving their country sincerely and well." But most of film is cheerfully cynical about how Washington really works, and how bosses like Norton worm their way into the system.
As for Tracy, he kept playing roles like this up until 1934, when he was scheduled to play a reporter in MGM's "Viva Villa," opposite Wallace Beery. The company was on location in Mexico when Tracy created a "scandal." One story is that he urinated off a balcony onto a military parade; another is that he returned an obscene gesture from someone watching the parade and thereby "insulted" Mexico. Whatever the reason, he was replaced in the film by Stuart Erwin.
But it's too simple to say that incident alone ruined Tracy's career. Like James Cagney's gangster, Barbara Stanwyck's tough dame and Joan Blondell's golddigger, Tracy's fast talker with loose morals was very much a pre-code character -- one that was phased out with the rise of the Production Code, Mexican balcony or no Mexican balcony.
If you're looking for differences between the 1931 and 1941 versions of "The Maltese Falcon," you can start with the hero's hands.
The hero, of course, is private dick Sam Spade, as played in the 1931 version by Ricardo Cortez and in the 1941 version by Humphrey Bogart.
Cortez has perfectly manicured nails, and in one scene he even files them. Bogart, on the other hand, keeps his hands busy by rolling his own cigarettes. We never see Bogart's nails, but it's a pretty good bet they'd be stained with nicotine, and he wouldn't be particularly concerned about it.
Their appearances fit their portrayals. Cortez plays Spade as a cock-of-the-walk -- a fun-loving, unabashed ladies man with a plush apartment and well-tailored suits. Bogart's Spade has rougher edges and a quiet assurance -- his wardrobe and his digs aren't as opulent. He doesn't feel the need to be as showy.
There are other differences between the two films, of course, as you'd expect when comparing a pre-code movie with a post-code movie. The 1931 version of Dashiell Hammett's novel is filled with attractive women and driven by sex; by 1941, sex was being kept on the down low. Violence, on the other hand, was much more acceptable, and the later version of the film has more fighting and gun play.
The story begins at the San Francisco office of Spade and Archer, private eyes. Here's how we first see Spade in the 1931 version:
No sooner does he get rid of one conquest than he starts flirting with gal Friday Effie (Una Merkel). Then comes a call from Iva Archer (Thelma Todd), the wife of Spade's partner. Spade and Iva do a little canoodling over the phone, and Spade doesn't know it, but Archer (Walter Long) is eavesdropping. The 1941 version opens with Spade in his office, alone, with no phone conversation. Enter a client (Bebe Daniels as Ruth in the 1931 version and Mary Astor as Brigid in the 1941 version), who says she wants her sister followed that night. Archer enters. When Brigid/Ruth flashes her gams and a wad of cash, Archer volunteers for the job. And he gets plugged -- it happens off screen in the 1931 version, but in the 1941 version we see Archer get it right in the gut.
Miles Archer's death leads to a funny little moment in the 1941 version -- as Bogart looks over the crime scene we see a movie poster on the wall behind him. It's for a 1937 film called "Swing Your Lady," a hillbilly musical that Bogart was forced to appear in as a Warner Bros. contractee and supposedly hated. Makes you wonder if director John Huston put it there as a joke or if it's an allusion to a murderess being hung.
In addition to Archer's death, the man Archer was supposed to follow is found shot. The cops start quizzing Spade. Cortez taunts the officers and laughs at his own witticisms. Bogart, on the other hand, delivers Sam's wisecracks with a straight face, and they're funnier that way. For instance, when Sam becomes a suspect, he jousts with the police. "How'd I shoot him?" he asks them. "I forget." Bogart says this as a throwaway line, while Cortez makes it too obvious -- he builds it up like the punch line of a joke. Bogart does much more with less -- when the cops start pressing him, he stops it with a hand on one cop's shoulder and a simple line -- "Don't crowd me, Tom."
Then comes a scene between Spade and Brigid/Ruth. The client's not telling the whole truth to Sam, and he knows it, so he has a little fun with her, in what I like to call the "you're good" scene. Here are the two versions -- judge for yourself which one plays more effectively:
Brigid/Ruth, of course, is wrapped up in the pursuit of a priceless jeweled statue of a falcon that dates to the 1500s. And there are others after the falcon as well -- seedy adventurer Joel Cairo (Otto Matieson in the 1931 version, and Peter Lorre in the 1941 version) and fat man Caspar Gutman (Dudley Digges in the 1931 version and Sydney Greenstreet in the 1941 version).
As you can see by the stills, there's no contest about which duo looks more threatening -- and more visually memorable. In terms of casting, first-time director Huston knocks the ball out of the park in the 1941 version. After years of playing two-bit bad guys, Bogart is entering his hero-matinee idol phase here. Astor is a perfect picture of prim sexuality. Lorre is appropriately creepy, and Greenstreet -- making his film debut -- is a memorable, charming villain.
Spade ends up in fights with Lorre's character and with Elisha Cook, Jr. as Gutman's gunsel Wilmer Cook. When Spade overpowers Lorre, who's come to search his office, Bogart sports a nasty smile while he's rabbit punching the guy. Here's a comparison of the Spade-Cairo fights in both films:
Later in the 1941 film, Spade overpowers Wilmer by pulling his overcoat down off his shoulders, and Wilmer gets back at Spade by kicking him when he's down
-- after he's been drugged by Gutman. In the 1931 version, there's no kicking -- Wilmer just watches as Spade passes out.
Finally, everyone ends up at Spade's apartment, waiting for the delivery of the black bird. Brigid/Ruth is holding an envelope with ten thousand-dollar bills for payment, which Spade gives back to Gutman. Gutman counts the money and one bill is missing. In the 1931 version, Spade confronts Ruth in his kitchen and has her strip to prove she hasn't got the missing bill. In the 1941 version, the incident is a symbol of a rare moment of trust between Spade and Brigid -- she tells him she doesn't have it, and he believes her. Gutman admits pocketing the bill.
Once the bird is delivered and determined to be a fake, Gutman and Cairo resume their search. Spade puts the cops on their trail, but he also has to deal with the fact that the woman he loves has killed his partner. In the 1931 version, the confrontation is filmed as the same leisurely pace as the rest of the film, and in the same wide shots. Huston, on the other hand, knows that this is the emotional heart of the picture and films it in tight, intense closeups:
The 1931 version ends with a sympathetic Sam visiting Ruth in jail with "good news" -- he's been made chief investigator of the District Attorney's office. Huh?
The 1941 version, on the other hand, builds to an unforgettable climax -- Sam describing the bird as "the stuff that dreams are made of" and Brigid behind the bars of an elevator door, foreshadowing the bars she'll soon be behind, with a possible death sentence. Swing your lady, indeed.
