Forbidden (1932) Review: The Good, The Bad & How to Watch

 

  Forbidden (1932) Review: The Good, The Bad & How to Watch

American Film, Drama, Romance

Venice International Film, 1932- Official Selection 

Frank Capra's 1932 drama, Forbidden, is a quintessential example of the emotionally charged storytelling permitted during Hollywood's pre-Code era. Starring Barbara Stanwyck in a performance that foreshadowed her later iconic roles, the film delves into the tragic, decades-long affair between a small-town librarian and an ambitious, married politician. It explores themes of hidden motherhood, personal sacrifice, and the corrosive nature of political hypocrisy. More on Wikipedia or Mubi 

Forbidden (1932): A Pre-Code Tale of Love and Ultimate Sacrifice 

The story begins with Lulu Smith (Stanwyck), a lonely Midwest librarian who, in a burst of "spring fever," cashes in her life savings for a glamorous cruise to Havana. On the ship, she meets Bob Grover (Adolphe Menjou), a charismatic lawyer with burgeoning political aspirations. Their whirlwind romance is idyllic, full of flirtation and heedless joy, but upon their return to the city, the inevitable truth surfaces: Bob is married to an invalid wife whom he refuses to abandon, citing a moral obligation that conveniently shields his political career from scandal.

The initial heartbreak sets the stage for Lulu's profound sacrifices. When she discovers she is pregnant, she hides the truth from Bob and raises their daughter, Roberta, alone for several years. The lovers are reunited when Bob, now the District Attorney, tracks her down. However, their relationship can only continue in the shadows. To protect Bob’s reputation from his relentless, vengeful rival, newspaper editor Al Holland (Ralph Bellamy), Lulu agrees to a heartbreaking arrangement: Bob and his wife adopt Roberta, and Lulu takes on the guise of the child's governess.

This intolerable situation, watching another woman serve as mother to her own child, forces Lulu to leave. She takes a job at Al Holland’s newspaper, where the smitten editor pursues her for years. As Bob's political star rises—from mayor to congressman to senator—Lulu remains in the background, sacrificing her own happiness and, later, even her freedom to safeguard his career and their daughter's standing in society.

Forbidden is an engrossing melodrama distinguished by its focus on Lulu's viewpoint and her incredible, almost self-destructive, devotion. Stanwyck portrays her character's transformation from a desperate spinster into a resilient, self-sacrificing woman with captivating intensity. The film is a fascinating study of the societal constraints placed on women and the double standards that allowed a man to pursue a high-profile career while forcing his mistress into a life of secrecy and martyrdom. Capra directs the complex narrative with a distinct emotional intimacy, crafting a memorable pre-Code tragedy where true love is forever deemed "forbidden."

The Good and The Bad of Forbidden (1932)

Forbidden (1932) stands out as a powerful example of pre-Code Hollywood melodrama, but like many films of the era, it has strengths and weaknesses that color its reception.

The Good

• Barbara Stanwyck's Performance: This is arguably the film's greatest asset. Stanwyck delivers an exceptionally raw and deeply moving performance as Lulu Smith. She convincingly portrays Lulu's entire arc, from naive spinster seeking romance to a self-sacrificing mother who endures decades of secrecy. Her emotional honesty grounds the entire, sometimes sensational, plot.

• Pre-Code Candor and Conflict: The film benefits from the moral fluidity of the pre-Code era. It openly explores adult themes—adultery, out-of-wedlock pregnancy, and the adoption of a child under false pretenses—without the forced morality and censorship that would be imposed just two years later. This allows for a deeper, more realistic portrayal of complex human choices.

• Frank Capra's Direction: Capra masterfully handles the film's emotional intensity. He imbues the tragic romance with a sense of sweeping grandeur, making the decades-long affair feel genuinely epic and heartbreaking. His focus on the characters' inner turmoil elevates the material beyond typical soap opera fare.

• Exploration of Sacrifice: The film is a profound, if perhaps melodramatic, examination of a woman's sacrifice for the man she loves and the child she must protect. It offers a powerful commentary on the double standards of the time, where a man could chase political power while a woman was forced into the shadows to preserve his image.

  The Bad

• Overly Melodramatic Plot: While the film is a product of its time, the sheer volume of tragedy and coincidence piled onto Lulu can strain credulity. The plot relies heavily on sensational twists—the hidden child, the fake governess role, the long-term adoption, the ultimate act of self-sacrifice—which can make the narrative feel emotionally manipulative at times.

• Adolphe Menjou's Character: Bob Grover, the man at the center of Lulu's devotion, is often depicted as weak or morally passive. He continually chooses his career and image over a genuine life with Lulu, always allowing her to take the burden of the secrecy. His inability or unwillingness to truly fight for their life together makes him a frustrating and less sympathetic romantic lead.

• Pacing and Time Jumps: The film attempts to cover many years in a short runtime, leading to some abrupt and confusing time jumps. The rapid progression of Bob's political career and the shifts in Lulu's life are sometimes jarringly presented, requiring the viewer to accept large narrative leaps quickly.

• The Ending (A Matter of Taste): The film features a dramatic and complete sacrifice that, while emotionally potent, is incredibly bleak. For modern audiences, the ending might feel excessively grim or unnecessarily fatalistic, adhering too strictly to the conventions of tragedy popular in that era where transgression often demanded extreme penance.
  Full Film