Woman Trap

Plot

Police Captain Dan Hogan (Chester Morris) is determined to capture his own younger brother, who has become a wanted fugitive. When Dan discovers that his brother's former criminal partner, Jimmy (Hal Skelly), has been released from prison, he deliberately frames Jimmy for a robbery he didn't commit to extract information about his brother's whereabouts. Jimmy's sister, Mary (Evelyn Brent), learning of this injustice, devises a cunning plan for revenge by seducing the married Captain Hogan, hoping to destroy his reputation and marriage where it will hurt him most. The situation becomes increasingly complex as Mary's revenge plot intertwines with her genuine feelings, while Jimmy tries to prove his innocence and locate his former partner. The film culminates in a tense confrontation where loyalties are tested and the true nature of justice and revenge is questioned.

Historical Background

Woman Trap was produced during a pivotal moment in American cinema history - the transition from silent films to talkies in 1928-1929. This period saw massive technological upheaval in Hollywood, with studios scrambling to convert to sound equipment and retrain their personnel. The film was released just months before the stock market crash of October 1929, which would dramatically impact the film industry and American society as a whole. The late 1920s also saw the rise of the gangster film genre, reflecting public fascination with organized crime during Prohibition. The film's themes of police corruption and moral ambiguity were becoming more common as Hollywood moved toward the more permissive Pre-Code era that would flourish in the early 1930s before being curtailed by the Production Code enforcement in 1934.

Making Of

The production of Woman Trap faced the typical challenges of early sound filmmaking, including bulky microphone equipment that limited camera movement and required actors to project their voices naturally rather than using theatrical techniques. Director William A. Wellman, known for his dynamic visual style in silent films, had to adapt his directing methods to accommodate the new technology. The cast, particularly stage veteran Hal Skelly, had to adjust their acting styles for the intimacy of sound recording. The film was shot relatively quickly, as Paramount was racing to produce enough sound content to meet theater demand. The screenplay was written by J. Walter Ruben and Joseph Jackson, who specialized in crime dramas and understood the need for snappy dialogue that would work well in the new sound format.

Visual Style

The cinematography by James Wong Howe reflects the technical constraints of early sound filmmaking, with more static camera setups than were typical in late silent films. Howe, who would become one of Hollywood's most celebrated cinematographers, managed to create visual interest within these limitations through careful lighting and composition. The film uses high-contrast lighting typical of crime dramas, with deep shadows that would later become associated with film noir. The camera work is more restrained than in Wellman's silent films, but Howe still manages to create dynamic visuals through strategic camera placement and movement when dialogue scenes permitted it.

Innovations

Woman Trap was notable for its effective use of early sound-on-film technology, representing a significant advancement over the earlier sound-on-disc systems. The film demonstrated how dialogue could be used to develop complex character relationships and advance the plot in ways impossible in silent cinema. The production team successfully integrated sound recording with visual storytelling, avoiding the static, stage-like quality that plagued many early talkies. The film's sound mix, while primitive by modern standards, was considered sophisticated for its time, with a good balance between dialogue, music, and sound effects.

Music

The film features a synchronized musical score and sound effects, typical of early sound productions. The music was likely composed by Paramount's music department staff, as individual composers were not always credited during this period. The soundtrack includes popular songs of the era as source music, reflecting the practice of incorporating contemporary music to appeal to audiences. The sound design emphasizes dialogue clarity, which was a primary concern in early talkies, with less emphasis on atmospheric sound that would become common in later years. The film's audio quality reflects the limitations of early sound recording technology, with some noticeable background noise and limited dynamic range.

Memorable Scenes

• The tense confrontation scene where Mary first confronts Captain Hogan about framing her brother, showcasing the film's Pre-Code boldness in its dialogue and sexual undertones.

What Critics Said

Contemporary critics praised Woman Trap for its taut pacing and effective use of sound technology. The New York Times noted that the film 'makes excellent use of the new talking medium' and particularly praised the performances of the three leads. Variety magazine called it 'a solid crime melodrama with plenty of action and good dialogue.' Modern critics view the film as an interesting artifact of the early sound era, with its somewhat static camera work reflecting the technical limitations of the period. Film historians appreciate Wellman's direction in navigating the challenges of early sound while maintaining the visual storytelling skills that made his silent films distinctive.

What Audiences Thought

Audiences in 1929 responded positively to Woman Trap, as crime dramas were extremely popular during this period. The film's combination of action, romance, and moral complexity appealed to moviegoers seeking sophisticated entertainment. The presence of established stars like Evelyn Brent and rising talents like Chester Morris helped draw audiences to theaters. The film performed respectably at the box office, though it was not among the biggest hits of its year. Modern audiences who have seen the film through screenings at film festivals or archives generally appreciate it as a well-crafted example of early sound cinema, though some find the pacing deliberate compared to later crime films.

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