THE SIN OF NORA MORAN
US, 1933, 65 minutes, Black and white.
Zita Johann, Alan Dinehart, Paul Cavanagh, John Miljan, Claire Du Brey, Henry B. Walthall.
Directed by Paul Goldstone.
The Sin of Nora Moran is a very interesting film of the early 1930s, interesting in characters, plot developments as well as cinematic techniques. It packs quite an amount of material in its brief running time.
The black-and-white photography, emphasis on lights and shadows, as well as different editing techniques and swipes, with a great deal of superimposition is for interpreting character as well as providing the meaning of flashbacks, and a number of collages to advance the plot development – as with Nora Moran walking the streets of the city looking for job opportunities and being refused.
The framework of the film is a discussion between a brother and sister, she is the wife of the Governor who has discovered her husband’s affair with Nora Moran and the letters, he the DA. The wife is resentful, but Nora Moran is about to be executed for murder. It emerges that the brother a great deal about the affair but kept quiet because of the danger in the political campaign for the governorship.
In the flashbacks, it emerges that Nora Moran is to be executed that day, is in prison custody, is being sedated, lives in her memories, in her dreams, with sympathetic authorities in the prison. An orphan, with the help of Father Ryan, she has been adopted by a sympathetic family, but the parents dying in a car crash and Nora using her inheritance to train as a dancer but not finding a job. She does get a job in a circus with John Miljan as Paulino who, literally, wrestles with lions, but is a predator and attacks Nora.
She encounters the candidate for the governorship and they fall in love, he setting her up in a cottage, and going on to be elected governor. There are complications when the brother confronts the Governor and Paulino turns up to blackmail him, leading to his death, a fight with the Governor but Nora accepting the responsibility for the death, trying to dispose of the body with the DA but caught by people from the circus and arrested.
There is a strong religious element with Father Ryan and his advice but also the use of the prayer and his voice-over for Nora, “eternal rest grant unto them, Lord, and let perpetual light shine upon them�.
There is quite a melodramatic ending with the Governor confronting his own love and his own weaknesses.
1. A film of the early 1930s? Drama? Melodrama?
2. The screenplay based on a play, the emphasis on dialogue, action confined to rooms? The musical score and its moods?
3. The cinematic style of filmmaking, the black and white photography, light and shadow, darkness? The interiors, offices, the cottage, the circus?
4. The editing techniques, the swipes, the superimposition, the indication of flashbacks?
5. The title and expectations?
6. The framework, the Governor’s wife coming to the DA, her complaint, the DA as her brother, giving him the letters, her disgust with the woman, with her husband? The range of flashbacks? The greater revelation about the DA, the impact on the Governor’s wife?
7. The title, Nora, initially seen as an orphan, the interview with Father Ryan and her prospective parents, the cute look, the affection? A life, the parents killed in the accident? The issue of her inheritance, discussing it with Father Ryan, wanting to dance? The training, the collage of her application for jobs, refusals? The interview for the circus, her pleading, her acceptance? Paulino, the scene of his wrestling with the lion, the lion’s mouth? Nora’s reaction? Paulino, leering, the attack on the train, the effect on Nora, her leaving?
8. At the dance, the meeting with Dick, the beginning of the relationship, the affair, renting the cottage, her living there, his visits on Mondays and Fridays, the lyrical attitude of her letters? The deceit?
9. Dick’s wife, learning the truth, angry, learning of John’s knowledge, further involvement, following Dick, the political issues and his campaigning, John’s success depending on Dick? His agreeing to cover the affair?
10. Dick, in himself, politician, the affair, his love for Nora? His brother revealing Nora’s past, his disgust and walking out?
11. Nora, her character, love for Dick, decision to leave, not wanting any money? John returning, no phone call from her? Finding Paulino dead? The plan, in the car, the body on the road, the drunks finding her, the women, urging her to go on the train, her arrest?
12. Paulino coming to the house, the intention of blackmail, confronting Dick, the fight, Paulino’s death? Dick’s responsibility? Nora taking the responsibility?
13. The police, the interrogation? Inviting the DA, his jurisdiction, Nora explaining things to him? John and his participation in the cover-up of the murder? Her silence during the trial, her being found guilty, decree of execution?
14. The importance of Father Ryan comforting Nora, the words of his prayer “eternal rest grant unto them, O Lord, and let perpetual light shine upon them�? Nora and her focus on eternal rest and perpetual light? John quoting the words to his sister?
15. Nora in prison, the authorities, the injections to keep her sedated, her not wanting food, the authorities and staff, sympathy? The focus on her memories, her dreams?
Getting ready for death, imagining a happy ending?
16. Dick, writing the letter, sending it to John, the truth, his struggle about pardoning Nora, the phoneline dead? His shooting himself? John reading the letter to his wife? The end?
