SAFE IN HELL (First National Pictures, 1931), directed by William A. Wellman, stars Dorothy MacKaill in possibly her best movie role. Considering the fact that her screen career dates back to the silent era (1920s), it's actually hard to detect what other movies in which she appeared are as good as SAFE IN HELL. With some of her early talkies from her home studio unearth decades after its theatrical release shown on Turner Classic Movies, many cannot compare to the pre-code frankness of SAFE IN HELL. Even its title is red hot! As much as her character could have or might have been enacted by tough acting gals of either Barbara Stanwyck or Joan Blondell, MacKaill's Gilda is very much her role as Scarlett O'Hara was Vivien Leigh's in GONE WITH THE WIND (1939). Regardless of its age, SAFE IN HELL holds up very well, even today,
The story opens in New Orleans where Gilda Carlson (Dorothy MacKaill), a call girl, is assigned by Angie (Cecil Cunningham) to "entertain" a man whose wife is out of town and wants a good time. Coming to the Claybridge Apartments, Gilda discovers her "date" to be Peit Van Staal (Ralf Harolde), a former acquaintance. After forcing his attentions on her, Gilda knocks him out with a bottle and leaves before a fire starts. Learning the next morning by Angie that the Claybridge Apartments has burned down and Van Stall perished in the fire, fearing arrest for his murder, Gilda decides to leave town just as her seaman voyager boyfriend, Carl Bergen (Donald Cook), now promoted officer, returns and wants to marry her. Learning what has happened, Carl smuggles Gilda aboard ship bound for an island in the Caribbean where criminals roam free, no questions asked. Arriving at the hotel run by Leonie (Nina Mae McKinney) and Newcastle (Clarence Muse), Gilda, having been left behind while Carl goes on his next voyage, finds she is the only white woman living with five criminals all wanted on individual charges. Going crazy staying in her room alone to avoid their bedroom eyes, she breaks out one night in celebration with these men to break the monotony and nothing else. Met by a pleasant surprise by the island's next visitor, Gilda soon finds that she'd be "safe in hell" rather than cater to Bruno (Morgan Wallace) the island executioner, who knows everything there is about her. Also in the cast are John Wray, Ivan Simpson, Victor Varconi, Charles Middleton, Lionel Bellmore and Gustav Von Seyffertitz.
At first viewing, SAFE IN HELL is full or surprises, one of them being the natural and non-stereotypical performances by black performers, Clarence Muse and Nina Mae MacKinney. The charming and beautiful McKinney, best known for her co-lead performance in HALLELUJAH (Metro-Goldwyn-Mayer, 1929), sings "Sleepy Time Down South" quite pleasingly. Another being several scenes not permitted on screen after the production code by 1934 was enforced. The underscoring (a big plus) sets the mood, making the finish as mesmerizing as any climax can be. SAFE IN HELL also has the distinction of being one of the few films produced in 1931-32 to open with just its title, leaving the cast and staff credits for its finish, a practice commonly used in movies decades later. Material later revamped as MEN IN EXILE (Warner Brothers, 1937) starring Dick Purcell, June Travis and Victor Varconi (again).
Out of circulation for decades, SAFE IN HELL has enjoyed cable television rediscovery in the 190s on Turner Network Television (TNT), before becoming a regular fixture on Turner Classic Movies. While this is considered to be Dorothy MacKaill's strongest performance, it was also her last. Films that followed, with the exception of the seldom seen LOVE AFFAIR (Columbia, 1932) opposite a very young Humphrey Bogart, and the frequently revived NO MAN OF HER OWN (Paramount, 1932) starring Clark Gable and Carole Lombard, MacKaill's career was virtually finished by 1937. With availability on DVD, and sensitive performance given by Dorothy MacKaill, SAFE IN HELL, at 72 minutes, is highly recommended for anyone curious about "pre-code" movies such as this one. (***)
The story opens in New Orleans where Gilda Carlson (Dorothy MacKaill), a call girl, is assigned by Angie (Cecil Cunningham) to "entertain" a man whose wife is out of town and wants a good time. Coming to the Claybridge Apartments, Gilda discovers her "date" to be Peit Van Staal (Ralf Harolde), a former acquaintance. After forcing his attentions on her, Gilda knocks him out with a bottle and leaves before a fire starts. Learning the next morning by Angie that the Claybridge Apartments has burned down and Van Stall perished in the fire, fearing arrest for his murder, Gilda decides to leave town just as her seaman voyager boyfriend, Carl Bergen (Donald Cook), now promoted officer, returns and wants to marry her. Learning what has happened, Carl smuggles Gilda aboard ship bound for an island in the Caribbean where criminals roam free, no questions asked. Arriving at the hotel run by Leonie (Nina Mae McKinney) and Newcastle (Clarence Muse), Gilda, having been left behind while Carl goes on his next voyage, finds she is the only white woman living with five criminals all wanted on individual charges. Going crazy staying in her room alone to avoid their bedroom eyes, she breaks out one night in celebration with these men to break the monotony and nothing else. Met by a pleasant surprise by the island's next visitor, Gilda soon finds that she'd be "safe in hell" rather than cater to Bruno (Morgan Wallace) the island executioner, who knows everything there is about her. Also in the cast are John Wray, Ivan Simpson, Victor Varconi, Charles Middleton, Lionel Bellmore and Gustav Von Seyffertitz.
At first viewing, SAFE IN HELL is full or surprises, one of them being the natural and non-stereotypical performances by black performers, Clarence Muse and Nina Mae MacKinney. The charming and beautiful McKinney, best known for her co-lead performance in HALLELUJAH (Metro-Goldwyn-Mayer, 1929), sings "Sleepy Time Down South" quite pleasingly. Another being several scenes not permitted on screen after the production code by 1934 was enforced. The underscoring (a big plus) sets the mood, making the finish as mesmerizing as any climax can be. SAFE IN HELL also has the distinction of being one of the few films produced in 1931-32 to open with just its title, leaving the cast and staff credits for its finish, a practice commonly used in movies decades later. Material later revamped as MEN IN EXILE (Warner Brothers, 1937) starring Dick Purcell, June Travis and Victor Varconi (again).
Out of circulation for decades, SAFE IN HELL has enjoyed cable television rediscovery in the 190s on Turner Network Television (TNT), before becoming a regular fixture on Turner Classic Movies. While this is considered to be Dorothy MacKaill's strongest performance, it was also her last. Films that followed, with the exception of the seldom seen LOVE AFFAIR (Columbia, 1932) opposite a very young Humphrey Bogart, and the frequently revived NO MAN OF HER OWN (Paramount, 1932) starring Clark Gable and Carole Lombard, MacKaill's career was virtually finished by 1937. With availability on DVD, and sensitive performance given by Dorothy MacKaill, SAFE IN HELL, at 72 minutes, is highly recommended for anyone curious about "pre-code" movies such as this one. (***)