I AM SUZANNE

US, 1933, 98 minutes, Black-and-white (pink tint).

Lillian Harvey, Gene Raymond, Leslie Banks.
Directed by Rowland V. Lee.

I Am Suzanne was directed by Rowland V. Lee, who was to go on to make The Count of Monte Cristo as well as other historical dramas and The Bridge of San Luis Rey.

The film has Paris settings and is confined to interiors, of the puppet theatre, of a large Parisien showcase, of a hospital. The film also has a pink tent throughout – perhaps in the spirit of the character of Suzanne.

The film is notable for its puppets, from the Yale Puppeteers, quite an amount of the running time spent in the portrayal of puppet shows, basic shows, more elaborate, and then the recreating of the showcase extravaganza with puppets. There is also a dream sequence of a nightmare trial for Suzanne and the central characters performing as puppets. For those who enjoy watching puppets, this film is essential.

Lillian Harvey is Suzanne, an athletic singer dancer in the show, under the power of the Svengali -like Baron, played by Leslie Banks, and guided by the other member of the team whom she calls Mother.

Suzanne is successful in her performance, the audiences loving her, but her life confined and her not being encouraged to an emotional life – until she encounters Tony, the son of the puppeteer, Gene Raymond, who is infatuated with Suzanne, wants to make a puppet based on her with performances based on her act. There is potential tragedy when she falls from a high wire, is hospitalised, Tony wanting to help, persuading the doctor to assist by entertaining the ill children in the hospital with the puppets. He is able to give advice to the doctor because of his knowledge of limbs and movements.

While there is potential for a happy ending, it does not happen so easily, with the Baron trying to take control again of Suzanne, Suzanne realising that Tony is in love with the idea of Suzanne and her embodiment in the puppet, and, after her nightmare, she realises her love and expresses it to Tony – happy ending.

1. A rather different film from the early 1930s? Drama, romance – and the world of puppetry?

2. The Paris settings, the marionette theatre, the large musical theatres, auditorium, dressing rooms? Apartments? The musical score, the songs?

3. Black-and-white photography – and the effect of the pink tint?

4. The skill of the puppeteers, so much attention in the film given to the puppets, their performances, shapes and sizes, movements, expressions, the puppeteers and their manipulations, the range of voices? The spectacular shows?

5. Tony, his family, puppeteers, their skills, making the puppets, the small audiences? His going to the large theatre, the initial encounter with Suzanne? Mother dropping the money? His going backstage, the encounter with the Baron, hostility? Returning the money? His returning to the theatre, trying to meet Suzanne? The attraction? His going to the apartment, the puppet dangled from the skylight, his coming in, doing the sketches, the variety of limbs and movements and expressions? Being caught by the Baron?

6. The Baron, control, sinister intentions, money and taking the cut from the others? His attitude toward Suzanne, making her work? No breaks? No romance? His scheme, the proposal, the pressure on her acceptance? His relationship with Mother? Mother and her training Suzanne, the rehearsals? Sympathy for her emotional life?

7. Suzanne, the next encounter with Tony in the theatre, her fall from the wire, in hospital, recuperation, Tony wanting to help, the doctor being busy, Tony bringing the puppets, entertaining the children, the doctor agreeing to treat Suzanne? Tony and his advice, knowledge of limb movement? A gradual recuperation, able to stand on her feet, the possibility of dancing again?

8. In the meantime, Tony making the puppet, the family response? The performance in the theatre, the copying of the winter act from the big theatre? The crowds? Suzanne, her participating as a puppeteer, her life changing?

9. The Baron, the new girl, her failure to measure up to expectations? Planning for Suzanne to make a comeback? his going to the puppet theatre, the entrepreneurs and their interest?

10. Suzanne, thinking Tony was interested only in the puppets, her puppet rather than herself, his kissing her, his regrets? Her nightmare, the trial, the witnesses, a dream extravaganza? Her response, going back to Tony, his response an apology? The Baron and his financial deal? The theatre and happily ever after?