The Unholy Garden (1931)

Good concept, poorly executed.

There are better movies of two hours length. I loved the actress'performance.

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Ronald Coleman Must have Thought when Sound Arrived in Hollywood that He Would Become an Even Bigger Star. What With a Voice that Could Melt Steel and the Coldest Femme Fatale Along with the Drop Dead Looks that Made Him a Silent Star. A Whole New World Would Open Up for the Likable Actor to Conquer.It was Not to Be. Given Atrocious Projects He Very Quickly Became Box-Office Poison and Although He Continued Working for Decades, His Star was Never Again as Bright as During the Silents. The Double Life (1947) is a Welcome Exception.In this Flop, Written by Ben Hecht and Co-Starring Fay Wray, a Very Busy Actress During this Period, Coleman is the Whole Show Surrounded by Unlikeable Clichéd Characters in a Dull, Dusty Setting. The Film Never Really Clicks but is Mildly Engaging and Estelle Taylor as a Slinky Bad Girl Showing Some Pre-Code Vampiness, is a Highlight. But Warren Hymer as Coleman's Sidekick is a Distraction and Way Over the Top.Overall, Pre-Code Fans Won't Find Much Here to Get Excited About and the Movie Mostly Just Lies There as the Desert Setting Isn't Very Exotic or Interesting. Worth a Watch for Pre-Code Completists, Fans of Coleman and Wray but Others May Find it Very Creaky. Not the Best Work of the Two Stars or Writer Hecht.

I taped THE UNHOLY GARDEN (1931) off TCM a while back and I don't remember why. I probably wanted to see Ronald Colman and Fay Wray together in what seemed like a rare pre-Code film. The tape sat on my shelf for a while before I finally decided to give it a look, and I was pleasantly surprised. This is a great little movie from the wild world of early talkies.Colman, ever charming and sophisticated, plays an notorious international criminal who holes up in a desert inn. There he meets a cast of unsavory characters of dubious repute. When it's discovered that the cranky blind man upstairs has stashed away a fortune, Colman agrees to win over the old man and his daughter (Fay Wray) in order to locate the loot.The motley group of thieves and murderers is played by Kit Guard, Henry Armetta, Ullrich Haupt, Mischa Auer, Lawrence Grant, and Warren Hymer. Grant in particular leaves an impression as a Vincent Price-y doctor character, the cool-headed intellectual of the group. (The brief conversation Grant has with Colman about his three dead wives is a delightful bit of black humor.) There's something about these characters in this secluded setting that reminds me of SAFE IN HELL (1931).RAFFLES (1930) meets SAFE IN HELL (1931), perhaps?This film has an interesting pedigree, written by the prolific Ben Hecht (UNDERWORLD, SCARFACE, THE FRONT PAGE, NOTHING SACRED, WUTHERING HEIGHTS, NOTORIOUS, KISS OF DEATH, etc.) and his frequent writing partner Charles MacArthur.This is a quick little film (75 minutes long), and it's enjoyable all the way through. The cast (also including a sultry Estelle Taylor and Tully Marshall as the dotty old man) is full of interesting characters, all staying together at the inn.A kind of romance blooms between Colman and Wray, who is young and lovely, but cut off from the world by her reclusive father. Colman is her window into Paris and the glamorous outside world. The film mixes romance and caper thrills while cultivating an atmosphere of danger. Certain scenes give the film a dark pre-Code edge. (In one scene Wray tells Colman what kind of life awaits her at the inn among the cutthroats. She wants to "start" with him, so she could have something nice to remember later on.)When things start to heat up, will Colman go through with his plans to swipe the cash? Will he double-cross the gang of crooks? Will he rescue the damsel and ride off into the sunset? Will he be tracked down by the French police?At 75 minutes, THE UNHOLY GARDEN is exciting, creepy, oddly charming, sexy, spooky, and even a little sweet. Ronald Colman is a dashing hero, even when he's playing an outlaw. Fay Wray is very lovely and sympathetic. This little-known pre-Code flick should interest any fans of early talkies. Check it out if it comes your way.

"The Unholy Garden" is a decent enough time-passer, but it is improved a bit because it stars the always suave and always entertaining Ronald Colman. It begins with an oasis of sin in the desert. In this far off place, various criminals from across the globe hang out here to avoid the police. But, because it's so far in the middle of nowhere, the local authorities leave the place to itself. This is where Colman and his group of 'friends' live. The group learns that a crazy old blind Frenchman is hiding out there and he's reportedly embezzled millions--millions this group of riffraff want to take. To do so, Colman pretends to be a friend to the old guy and his sexy daughter (Fay Wray). The problem is that Colman slowly starts to fall in love. What's he to do--his associates will kill him if he doesn't follow through with it but he can't bring himself to destroy Wray in the process.All in all, a decent romantic crime film--mostly because Colman was so cool and likable. It's not a film that will change your life and there were a few problems (such as the fact that Wray and her father bore no French accents), but it's very enjoyable escapism.

The suave criminal Barrington Hunt heads for a hideout in the Sahara Desert. In the crumbling old moorish palace he meets a gang of desperados and the divine Camille. A plan intended to relieve Camille of her hidden loot misfires when Hunt begins to fall for her ....Ronald Coleman plays his stock role of gentleman thief, and Fay Wray is Camille. Wray was a busy star at the time, averaging seven features per year between 1927 and 1934, though of course her name will always be associated with "King Kong", made two years after this crime thriller. "Don't worry - I'm rather good at this," says Coleman as he takes the wheel of Elize's sporty open-top car. He might have been talking about his handsome roue performance. In a long crescendo, the film builds towards the climax of the kiss in the ruined mosque. Coleman is very effective as the cad who is ennobled by love, and his look of regret as Camille leaves is harrowing. If Wray is guilty of an overly declamatory acting style, it can be conceded that this was the vogue of the time. Estelle Taylor as the sexy Elize has a voice that grates, but her performance grows on the viewer as the film progresses.George Barnes' photography is beautiful, with Coleman backlit at crucial moments, almost like a saint with his halo. The set of the 'palais royal' is superb, deliciously seedy and rambling. There are nice glimpses of desert dunes, and the moorish architecture has an authentic look."The place is crawling with lizards," we learn, and this could just as well describe the human inhabitants of the palais royal. Fortunately for Camille, Hunt is cunning enough to outwit the pack of villains who haunt this remote lair. Hunt is able to turn his wasted life into something good and useful in a heroic gesture of self-denial.Criticisms are limited to minor implausibilities. In such a forsaken spot, would the men all be clean-shaven every day? And would de Jonghe dress formally for Christmas Dinner? Would a disgraced German wear a military uniform out here?Verdict - Stylish adventure, with Coleman at his most urbane