THREE ON A MATCH

US, 1932, 63 minutes, Black and white.
Joan Blondell, Anne Dvorak, Bette Davis, Warren William, Lyle Talbot, Humphrey Bogart, Allen Jenkins, Edward Arnold, Virginia Davis, Dawn O' Day, Betty Carse.
Directed by Mervyn Le Roy.

Three on a Match is a very interesting film, very brief, from 1932. When it goes back to 1919 and 1925 and these periods look remote to contemporary viewers, they were contemporary to the characters at that period and to audiences who would have seen it as a modern drama.

There is an explanation of the title, soldiers together, bonding, or the danger that one of the persons would collapse – which is the latter meaning for this film.

After showing three girls at school, Mary a troublemaker, Vivienne most popular, Ruth diligent, the film moves to their early adulthood, with Mary in jail for larceny, very tough, Vivienne wealthy and getting married, Ruth going to business school. It then moves to 1930, Mary is more settled in show business, Ruth working in business, Vivienne married to a wealthy lawyer, with a son, but completely dissatisfied with life and unable to understand why.

There is melodrama when Vivienne is on board a liner to travel to Europe and meets a shady type, falls in love with him, disappears with her son, thinks she has becomes free, lives a dissipated life. Her husband searches for her, but divorces her and marries Mary who is devoted to him. There is more melodrama when Vivienne’s boyfriend has to pay a debt, decides to abduct the boy and Vivienne, and the criminals decide to join him – with Vivienne sacrificing herself to save her son.

It is interesting to look at the cast and to see their futures: Joan Blondell as the tough broad in so many films, Ann Dvorak as a dramatic actress, and Bette Davis and her career. Warren William is good as the husband, Lyle Talbot is the boyfriend, Edward Arnold is Ace, the criminal boss, and included amongst the thugs are Humphrey Bogart and Allen Jenkins.

Direction is by Mervyn Le Roy who was to have a strong career at Warner Brothers in the 1930s and then at MGM in the 1940s and 1950s.

1. Warner Brothers drama of the early 1930s? Brief running time? Strong cast? Strong director?

2. Black-and-white photography, the different periods, costumes and decor, cars and transport, offices, liners, hotels? The musical score?

3. The title, the explanations from World War I, lighting matches, comrades in arms, a sign that one of the three would fall? As applied to this story?

4. The scenes from 1919, 1925, 1930 – seeming old-fashioned today to viewers, but a contemporary drama at the time? Perceiving it as contemporary?

5. 1919, the aftermath of the war, the three girls at school, Mary always in trouble, with the boys, with her mother, at the principal? Vivienne, pretty, popular,
getting the prize? Ruth, diligent? Their interactions – and their futures?

6. 1925, Mary in jail, larceny, her tough attitudes and stances, the other prisoners? Ruth and business school? Vivian, boarding school, wealth, marriage?

7. 1930, Mary, the showbiz connections, possibility of performance? At the beauty parlour, talking about school, Vivienne in the next booth, coming to talk? Meeting up with Ruth, the dinner, friendships, the beginning of friendships? The cigarettes – and three on a match?

8. Vivienne’s story, wealthy, her son, dissatisfied, in herself, not knowing why? The boy, the governess? His playing up, his mother trying to help, the strong bond with his father? Vivienne discussing things with Robert? His tolerance? Her inability to explain herself and her unease? Going away, going by herself? Arranging the trip, his having to leave on business? Meeting Mary, going to the party, the stewardess looking after the boy? Vivienne and her letting loose, drinking? The attraction to Michael, dancing with him? Going away with him, taking her son? Her disappearance, Robert’s concern, the private detective?

9. Mary, her settling down, her friendship with Ruth, the concern about Vivienne and the boy? Going to see Vivienne, her bad state, suggesting she take the boy and Ruth and her sister look after him, along with the little girl? Going to see Robert, the going to the hotel, taking the boy, Vivienne’s collapse? Vivienne waiting for Mary to beg and Mary giving her money?

10. Ruth’s story, diligent, her work, looking after the boy, at the beach, a pleasant woman?

11. Michael, desperate, wanting money, the criminals and his debt? Their stand and tactics? The boss (and the tweezers with his nose hair), Humphrey Bogart and the other criminals? The decision to abduct the boy, keeping him, keeping Vivienne?

12. The police, the search for the boy, Robert and his concern, his marriage to Mary and her support?

13. Vivienne, desperate, overhearing the plans for the murders, the lipstick, her diving out the window, the lipstick message on her dress, the police, the arrests?

14. Melodrama, character studies, issues of identity, love, strengthened failure – in just over an hour?