Framed

Plot

After her racketeer father is killed during a police raid, Rose Manning (Evelyn Brent) swears a blood oath of vengeance against the man she holds responsible, Inspector 'Butch' McArthur. Five years later, Rose has become a sophisticated nightclub hostess with deep ties to the criminal underworld, specifically bootlegger Chuck Gaines (Ralf Harolde), who provides her club's liquor and desires her personally. Her plans for revenge take a complicated turn when she meets and falls for a young man named Jimmy Carter (Regis Toomey), only to discover that 'Jimmy Carter' is actually Jimmy McArthur, the Inspector's son. As Rose's genuine love for Jimmy begins to outweigh her desire for retribution, she finds herself caught in a deadly crossfire between the law and jealous gangsters. When Chuck Gaines plots to murder Jimmy out of spite, Rose must risk everything to save the man she loves from the very underworld she once used as a weapon for her vendetta.

Historical Background

Released in March 1930, 'Framed' arrived just as the Great Depression was beginning to take hold and the 'Pre-Code' era of Hollywood was in full swing. Prohibition was still the law of the land, making bootlegging and gang violence a daily reality in American newspapers, which in turn fueled the popularity of the 'gangster' genre. This was also a pivotal year for the film industry as it finalized the transition from silent films to 'talkies.' The Motion Picture Production Code (Hays Code) had been written in 1930 but was not yet strictly enforced, allowing 'Framed' to explore themes of revenge, illicit nightclubs, and moral ambiguity that would later be censored.

Making Of

Production on 'Framed' began in early December 1929. The transition to sound was still a logistical challenge for many studios, and RKO was heavily promoting its 'Radio Pictures' brand as the pinnacle of audio technology. Director George Archainbaud had to balance the static nature of early sound recording—which often required actors to speak toward hidden microphones in flower vases or furniture—with the fast-paced action expected of a crime thriller. Evelyn Brent, a veteran of the silent era, was one of the few actresses who successfully transitioned to sound with a voice that matched her tough, 'hard-boiled' screen persona. The nightclub sets were designed to look opulent yet dangerous, reflecting the dual nature of the Prohibition-era setting.

Visual Style

The cinematography by Leo Tover is characteristic of the early sound period, featuring high-contrast lighting to emphasize the 'noir' elements of the nightclub and alleyway scenes. While the camera movement was somewhat restricted by the bulky sound-deadening 'blimps' used at the time, Tover utilized close-ups effectively to capture the emotional tension in Evelyn Brent's performance.

Innovations

The film's primary technical achievement was its successful integration of the RCA Photophone sound-on-film system, which provided clearer audio than the earlier disc-based systems. It also demonstrated RKO's ability to produce high-quality 'B' pictures that rivaled the 'A' features of larger studios in terms of technical polish.

Music

The film features a synchronized score and sound effects provided by the RCA Photophone system. The nightclub scenes include period-appropriate jazz music, though most of the film relies on diegetic sound and dialogue rather than a continuous orchestral score, which was common before the mid-1930s.

Memorable Scenes

• The opening interrogation scene where a young Rose Manning is grilled by Inspector McArthur and swears her revenge.
• The tense confrontation in Rose's apartment where she must hide Jimmy from the murderous Chuck Gaines.
• The final shootout where the truth about the 'framing' is revealed and Rose must choose between her past and her future.

What Critics Said

At the time of its release, 'Framed' was generally well-received as a solid, fast-moving melodrama. Critics praised Evelyn Brent's performance, noting her ability to convey both toughness and vulnerability. The New York Times and other trade papers of 1930 highlighted the film's effective use of sound and its suspenseful climax. Modern critics view it as a fascinating artifact of the Pre-Code era, though some note the technical limitations common to early 1930s talkies, such as occasional stiff pacing and stagey dialogue.

What Audiences Thought

Audiences in 1930 were drawn to the film's 'all-talking' nature and its scandalous premise of a woman seducing a policeman's son for revenge. It performed well in urban markets where crime dramas were particularly popular. The chemistry between Brent and Toomey was a highlight for viewers of the era.

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