The Sin of Nora Moran (1933)

I like (many) pre-code movies, simply because you never know what might happen. Quite a contrast to the formulaic stuff that was produced after 1935 (approx.) and, for those who think the 'Hayes' code is dead, the assembly-line production of rom-coms since 1990 rigidly stick to the same drivel: about 20 minutes from the end, a disagreement causes the intended couple to split, but miraculously re-unite by the final curtain. Nauseating.Sins of Norah Moran is a bit melodramatic in places, esp. in the early going, but Majestic Studios (one of the so-called 'Poverty Row' film-makers, who rented space and equipment from the mainstream guys to keep costs down) weaved a melancholy tale here of a sad-sack orphan who grows up only to have the 'system' beat her down. She stands accused of murdering a former co-worker at the circus (he sexually assaulted her - a modern screenplay might have her nominated for Congress), and facing a death sentence. Her recent 'governor' boyfriend probably did it, but will Nora blow the whistle? I was struck by how the 'governor', a married man, cavorts so openly with this pretty young girl - were the 'Press' so under control during this era or was there just so much of this 'running-around' going on that the gov could hide in plain sight?In time, he sees her at a 'kept' home every Friday & Monday - it kind of blows up when his wife finds a stack of unsigned love letters. The script makes no effort to condemn Nora or the Governor for their dallying, but, of course, it's poor Nora who will face severe consequences when the villain is suitably dispatched. Dang it-where's Perry Mason when you need him?But that's pre-code: anything can happen. That's what makes it so interesting. Great camera work & use of flashbacks & voice-overs. Experimental. Unorthodox. Compelling. Kudos to TCM for reviving interest in this era. 8/10

Based on a stage play entitled "Burnt Offering" by newspaperman turned press agent (for Webber and Fields, Chauncey Olcott and many others), W. Maxwell Goodhue, this is, to say the least, an amazing film noir. Its complex narrative structure anticipates many of the famous classics including Citizen Kane. Nor is the direction by Phil Goldstone (a "B" movie producer who directed only two sound movies of which this is the first) in any way lacking. In fact, it's very inventive, as is the darkly noirish cinematography of Ira H. Morgan (who co-photographed the fabulously spectacular "When Knighthood Was in Flower" in 1922 but whose career declined in the sound period where, except for an occasional "A" like Chaplin's Modern Times, he worked almost exclusively in Poverty Row. He managed to chalk up over 200 credits in all before his death in 1979). The acting too is highly creditable, particularly by Zita Johann in the title role, John Miljan as one of the most repulsive villains ever seen in a movie, Claire Du Brey as the self-centered, antagonistic Mrs. Crawford, and Paul Cavanaugh as the charming but disappointingly weak-willed governor. The only not-so-hot performance is offered by the normally thoroughly professional Alan Dinehart who seems unsure how to play his role. As a result, he simply rattles off his lines and is often unconvincing. In all, however, The Sin of Nora Moran is a must-see item for every film noir fan. Available on an excellent Alpha DVD.

Adapted from the play "Burnt Offerings", it was originally produced under the title "The Woman in the Chair" and in the 1980s it was re-released as "Voice From the Grave". Whatever the title it was an extraordinarily strange little film using a stream of consciousness narrative (used the same year by Preston Sturges in "The Power and the Glory") and according to some critics, maybe the best independent feature of the thirties. It definitely would have confused a lot of viewers of the day but as a Majestic release it would have played on the bottom half of double bills, so it may have been a pleasant surprise or a confusing one.Edith Crawford (Claire DuBrey, who played the first Mrs. Rochester in the 1934 version of "Jane Eyre") visits her brother, a District Attorney (Alan Dinehart), determined to find out who her husband, Bill, is having an affair with. The "other woman" is Nora Moran (Zita Johann)who is about to be executed for murder. There is a very confronting scene involving preparations before an execution and then Nora's subconscious mind takes over. After a rather sad childhood, Nora finds herself working in a circus for Paulino (John Miljan), a lecherous lion tamer who rapes her. A year later Nora feels she has found happiness with Bill but Paulino comes back on the scene, hoping to try some blackmail and is killed.There is much "avant garde" film-making in this. Apart from SOC, there are flashbacks within flashbacks (similar to the 1940's movie "The Locket"), eerie appearances - Sarah Padden, as one of Nora's circus friends, suddenly materializes beside her prison bed, as does Nora, who appears to Bill (Paul Cavanaugh), to plead with him not to let her die in vain. (He is really a weak person and Nora begs him to try to be strong for her sake). There is even a bizarre fantasy sequence in which the men in her life discuss events standing around her coffin!!! It is a very strange movie!!Alan Dinehart seems to be the only actor in the movie that you can warm to. He is not particularly a "good guy" but has a dimension to his acting that the other players lack. Zita Johann a stage actress, who D.W. Griffith selected for the female lead in his film "The Struggle", had the intensity but no heart. You somehow can't imagine her as a chorus girl - Mae Clarke would have been perfect, but that is just my opinion. Cora Sue Collins was a child star who seemed to get some plum roles (until Shirley Temple came along) - she had played Greta Garbo as a child in "Queen Christina". She was top billed in a part that only lasted 60 seconds at the most. Henry B. Walthall, was also in the cast as the kindly Father Ryan, who looked after Nora as a child.Recommended.

MAJESTIC PICTURES in their short Hollywood production life 1930-35 made excellent small films using sets at other studios. This meant they could use those facilities and instead spend big on actors and crew. Without studio overheads their input concentrated on finding and using excellent A grade sets and costumes and facilities without owning them. As a result their films had an RKO or MGM look. Actors would be called to make a film at RKO and find it a Majestic title ensuring constant work on a big lot but maybe for a minor player. This allowed Majestic to get A tech and image at a bargain rate and not embarrass their desired actors. However in this film they even excelled themselves and most Hollywood majors studio style in creating a unique melancholy almost- noir nightmare of doomed love and honor... and all the emotional treachery that goes with it. Somewhere between SORRY WRONG NUMBER and DETOUR and overlapping time shift of PULP FICTION, this film THE SIN OF NORA MORAN uses those techniques and techniques of voice over, flashback and sad romance with equal parts hangman's noose, resigned fate and deceit. What a find! THE SIN OF NORA MORAN is a film school textbook of economic film making and could easily stand an upgraded remake today. Excellent! Treat yourself!. Good restored UCLA DVD too. Zita Johan in the lead part as Nora is simply exquisite and her melancholy tone throughout is most effective. Her sin? Being born.