The Devil to Pay! (1930) Review: The Good, The Bad & How to Watch

 

 The Devil to Pay! (1930)  Review: The Good, The Bad & How to Watch  

American Film, Drama, Romance

Venice International Film Festival, 1932- Official Selection 

In the transitional era of early sound cinema, few films captured the sophisticated charm of the "drawing-room comedy" quite as effectively as the 1930 production, The Devil to Pay! Directed by George Fitzmaurice and written by the prolific Frederick Lonsdale, the film serves as a definitive showcase for the urbane, effortless screen presence of Ronald Colman. At a time when many films were struggling with the clunky technical limitations of early microphones, this production managed to maintain a breezy, rhythmic pace that felt remarkably modern. More on Wikipedia or Mubi 

The narrative centers on Willie Hale, a lovable but chronically irresponsible spendthrift played by Colman. After returning to London from an unsuccessful stint in East Africa—having sold all his belongings to buy a Derby horse—Willie finds himself in his usual state of charming destitution. The plot is propelled by his interactions with his wealthy, exasperated father, Lord Leland, and his romantic pursuit of the beautiful Dorothy Hope, portrayed by Loretta Young. While the story follows the traditional beats of a romantic farce, it is elevated by Lonsdale’s sharp, witty dialogue and the genuine chemistry between the leads.

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One of the most notable aspects of The Devil to Pay! is how it solidified Ronald Colman’s status as the archetype of the sophisticated English gentleman. His voice, which was perfectly suited for the new medium of "talkies," became a benchmark for elegance. The film relies heavily on his ability to make a character who is essentially a "black sheep" seem entirely irreproachable. Even when Willie is manipulating his family for money or navigating a love triangle involving a glamorous actress, the audience remains firmly on his side because of the warmth Colman brings to the role.

The production also benefits from high-caliber supporting performances. Myrna Loy appears as Mary Wilton, providing a grounded contrast to the more flighty elements of the plot, while Frederick Kerr delivers a memorable performance as the grumpy yet ultimately soft-hearted Lord Leland. The film’s pacing is assisted by its relatively short runtime, ensuring that the comedic misunderstandings never overstay their welcome.

Technically, the film represents the high production values associated with Samuel Goldwyn. The sets are opulent, capturing the luxury of the British upper class, and the cinematography manages to escape the static nature that plagued many early 1930s films. By focusing on character dynamics and verbal sparring rather than slapstick, The Devil to Pay! helped define the "sophisticated comedy" genre that would flourish throughout the decade.

Ultimately, the film is a lighthearted exploration of class, family expectations, and the power of charisma. It remains a significant piece of cinematic history for being one of the first sound films to truly master the art of the witty, talk-driven screenplay. It proved that sound didn't just mean noise; it meant the opportunity for nuance, timing, and the kind of linguistic playfulness that silent films could only hint at through title cards.

The Virtues of The Devil to Pay!

The primary strength of the film lies in its exceptional dialogue and casting. Because it was written by Frederick Lonsdale, a master of the stage, the script possesses a rhythmic, musical quality that many early sound films lacked. Ronald Colman’s performance is the undeniable centerpiece; his "velvet voice" and naturalistic acting style helped move cinema away from the exaggerated gestures of the silent era. He embodies a specific type of effortless masculinity—vulnerable, witty, and perpetually calm—that feels timeless.

Furthermore, the film is praised for its production design and pacing. Samuel Goldwyn spared no expense, ensuring the sets felt like lived-in aristocratic homes rather than flat stage backdrops. Unlike many "talkies" of 1930 that felt like filmed plays where the camera never moved, George Fitzmaurice’s direction maintains a sense of visual fluidity. The inclusion of a young Loretta Young and a pre-stardom Myrna Loy also adds a layer of historical interest and genuine screen magnetism that keeps the romantic stakes engaging.

The Flaws of The Devil to Pay!

Conversely, the film’s greatest weakness is its lack of narrative substance. By modern standards, and even by the standards of later 1930s screwball comedies, the plot is incredibly thin. It relies almost entirely on "charming" its way out of thin character motivations. The protagonist, Willie Hale, is essentially a high-society parasite who avoids consequence through sheer luck and pedigree, which can make him difficult to root for if the viewer isn't completely won over by Colman’s charisma.

Additionally, the film suffers from some of the technical growing pains of the period. While the dialogue is sharp, the sound recording occasionally feels hollow, and there are moments where the actors seem to be waiting for the microphone to catch up with their movements. The secondary conflict involving the actress Mary Wilton is resolved somewhat abruptly, and the film’s ending feels more like a convenient stop than a fully earned emotional resolution. For those who prefer high-stakes drama or physical comedy, the film’s heavy reliance on polite conversation might feel stagnant or "stuffy."
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