Of Human Bondage (1934)

Directed by: John Cromwell | 83 minutes | drama, romance | Actors: Leslie Howard, Bette Davis, Frances Dee, Kay Johnson, Reginald Denny, Alan Hale, Reginald Sheffield, Reginald Owen, Desmond Roberts, Harry Allen, Ray Atchley, Frank Baker, Evelyn Beresford, Jimmy Casey, Ma Curly, Byron Fitzpatrick, Douglas Gordon, Frankie Grandetta, Tommy Hughes, Kenner G. Kemp, Billy Mills, Nat Neahan, Tempe Pigott, Irene Rich, Adrian Rosley, Frank Schwab, Al Sullivan, Madeline Wilson

In the 21st century, novelist W. Somerset Maugham has fallen into a bit of obscurity. Those who still remember him often confuse him with a contemporary like EM Forster. During the 1930s, however, he was one of the most important living authors. Like the hero in his semi-autobiographical novel Of Human Bondage, he was actually a doctor, but only briefly practiced that trade. The best-known adaptation of Somerset Maugham’s oeuvre is probably ‘The Razor’s Edge’ (1984), in which Bill Murray takes his first steps as a (melo-)dramatic actor. However, the best film adaptation of a book by the author is ‘Of Human Bondage’ (1934). This film is often credited as the start of the promising career of actress Bette Davis. Before that, however, she had already played 29 (!) minor roles, including alongside Spencer Tracy in the prison drama ‘20,000 Years in Sing Sing’ (1932). However, ‘Of Human Bondage’ was the first film in which she showed her specific acting skills to the general public. After all, no one could be an ice-cold bitch like her.

The lead role in this film is for Leslie Howard, a much bigger star than Davis at the time. He plays Philip Carey, a modest and eloquent man who failed as an artist in Paris and so decided to study medicine in London. There he runs into the young blonde Mildred (Bette Davis). She works as a waitress in a restaurant. Philip is immediately impressed by her, but she doesn’t like him. Because he insists, she still goes out with him, although it is not very well and she hurts him time and again on her with her disinterest and her mean lashes. She especially despises the fact that Philip is disabled (he has a club foot). The moment he proposes to her, she casually tells him to marry someone else, someone who does have money and is successful. But this much older businessman Miller (Alan Hale) leaves her as soon as she says she is pregnant. Philip tries to pick up his life with the lovable Norah (Kay Johnson), but immediately succumbs to Mildred as soon as she shows up on his doorstep. He drops Norah and is again taken over by Mildred, who, however, makes him fall hard for one of his best friends. How much longer will Philip let himself be harnessed to Mildred’s cart?

Translating a novel that mainly takes place in the mental world of one of the characters to the silver screen is always difficult. Director John Cromwell and screenwriter Lester Cohen didn’t quite manage to get the book across correctly, because things mostly remain on the surface. But this 1934 version is still a lot better than the one from 1946 and 1964 with Eleanor Parker and Kim Novak respectively in the role of the manipulative Mildred. The makers undoubtedly saw it as a challenge to film this story. Unfortunately, the end result is a bit on the slow side – although the film is only 83 minutes – and, except for the scenes with Davis unleashed, it lacks strength and conviction. It all comes across a bit dull, which is partly due to the little special black-and-white cinematography. What makes the film interesting, however, is that it was made shortly before the introduction of Hayes’ censorship code. Otherwise Mildred’s slutty behavior would not have been acceptable and even the only character that jumps off the screen in this film (thanks to Davis) would have been cut short. Fortunately, that is not the case, partly because Cromwell gave his rising star the space and freedom to make his own decisions.

Because Bette Davis is exactly what makes this film worth watching. The actress was so eager to play the part of Mildred Rogers that she begged Warner Brothers – the studio where she was under contract – to loan her to RKO. The actresses under contract to that studio were unwilling to take the part (for fear of being typecast), so the role was up for grabs for the ambitious Davis. The shrewd actress already saw the potential in such nasty women, which she would actually make her trademark. In the beginning, when we meet Mildred, she is still wary and especially Davis’s pitiful Cockney accent stands out. But soon her true nature is revealed, culminating in a terrifying rage that gives Philip a real beating. Suddenly that bad accent can be stolen from you!

The other actors all play second fiddle, although most do it properly. Leslie Howard almost always plays the same types – the nice, eloquent gentleman – and is a bit drab. But that suits this hopelessly romantic character. You just constantly wonder what Philip sees in that bitch of a Mildred who treats him like dirt and only takes advantage of his naive goodness. And why does he let lovely ladies like Norah and Sally, who are eager to share their lives with him, walk away anyway? At first Howard was rather contemptuous of his co-star, but he soon bounced back. In 1936 they would face each other again, in ‘The Petrified Forest’. Nice supporting roles include famous actors such as Reginald Owen, Frances Dee, Kay Johnson and Reginald Denny.

Bette Davis herself was very proud of her role in ‘Of Human Bondage’ and later always talked about her career BB (Before Bondage) and AB (After Bondage). She expected to get her first Oscar nomination. Initially, she was not on the list of nominees, but thanks to a lobby of The Hollywood Citizen News, she was eventually voted for, after she was exceptionally awarded a write-in nomination. The statuette went to Claudette Colbert (‘It Happened One Night’, 1934), but Davis had to be taken seriously from that moment on. She did win her first Oscar a year later, for ‘Dangerous’ (1935). ‘Of Human Bondage’ is especially noteworthy because of La Davis’ powerful performance, which left a big mark on her further career. For the rest, this is a reasonably successful, but not very special novel adaptation that hardly sticks.