Given the title and the basic premise one unfortunately expects it, but there is nonetheless definite racism that pervades 'White woman,' with further colonialist overtones on top. True, for the most part these constitute an element of the setting, and background for the plot, more than an active part of the story - and at that, to an extent it's written into the nature of the antagonist. Still, like the exposition's treatment of Judith that is borne equally from sexism and a classist sense of propriety - a catalyst for the plot - and an instance of animal cruelty, it's a harsh touch that one must recognize before getting to the heart of the feature. Moreover, in the last act, the racial and cultural prejudice woven into the writing becomes still more prominent, enhancing the distasteful flavors of the whole. Though in a different way, I'm reminded of the 1934 Faye Wray horror vehicle 'Black Moon' - a title that had strong potential, and carried much value, but was substantially weighed down by the abject bigotries on display in the very fabric of the plot. There's a lot to like here, to be sure, but the counterbalance is deeply regrettable.
That's the bad news, and to some degree it distracts from the facets to be praised. The good news is that the core is otherwise very strong. The screenplay is wonderfully engaging in relating the story of desperate individuals struggling in one way or another against the manipulative figure that lords over all around him. The broad strokes of the narrative are compelling and satisfying, as is the scene writing that comes across as ably dynamic and charged. Characters show depth and complexity, and the dialogue is alternatingly rich and biting. Moreover, looking to those details that round out the picture, I appreciate the attention to costume design, hair and makeup, and set design and decoration. I think Stuart Walker demonstrates a capable hand as director in arranging shots and scenes, and there's some fine use of lighting here, as well.
Very importantly, the cast rather impresses. Even as they're given fairly high billing, Kent Taylor and Charles Bickford find themselves in supporting roles as David and Ballister only slightly larger than that of Percy Kilbride as Jakey - yet all illustrate a certain poise and strength of personality in their comportment that works wonders to help build the whole. Carole Lombard, comedic genius that she was, takes a turn in a purely dramatic part in 'White woman' as Judith. It seems clear that she was best suited to comedy - but also that she was not to be counted out in straight roles, as she exhibits a refined subtlety to her acting, and measured forcefulness befitting the put-upon lead character.
As much as I love Lombard, however, it's Charles Laughton who most catches my eye in this picture, admittedly at least in part just because Horace H. Prin is so distinct from the other figures in the story. Prin is boastful and grandstanding as he wields power and holds secrets over those in his circle, but is at heart both cowardly with a wide ranging nervous energy. Laughton is an absolute joy to watch as he navigates the intricacies of Prin's huge personality with gratifying range, physicality, and otherwise traits exceeding those even of Lombard and the other costars. Solidly made as 'White woman' is in its craft, so much of the feature's strength lies in the broad strokes of the writing and in the acting, and Laughton is the linchpin of it all.
This film walks a very, very fine line between what is appropriate for the story on hand, and what is shameful (and all too typical of early cinema especially, but also Hollywood in general). The way that native people are depicted and spoken of in the screenplay is sufficiently dubious to detract from the overall worth. At the same time, though, the unnamed tribes in the surrounding jungle are presented not as villains, but as victims likewise subject to Prin's dealings, and who in the end contribute to the provision of a very satisfying ending. This aspect by no means absolves the feature of the prejudice it dallies with, but is an improvement relative to other titles. Case in point - I had mentioned 'Black Moon' only as a point of comparison in noting the racism prevalent in 'White woman,' and it's worthwhile to draw upon that comparison once more. In 'Black Moon' the current of racism is emphatically just as strong as any of the flick's advantages; in 'White woman' the place of similar bias in the story shifts the balance toward a slightly more even-handed approach. It's far from perfect, and frankly a content warning should be appended in this instance, but I understand the tack 'White woman' was ideally taking - only, the writers lacked the tact to complete the image as it should have been.
I would not for one moment begrudge anyone who watches this movie and adopts a harsher, more critical stance than I have. For all that it does well, there's no getting around handling of cultural and racial prejudice that is shaky at best. I'm inclined to think, though, that there's just enough nuance in the role that the indigenous people play in the plot to place a higher cap on one's assessment than we may for another movie with similar issues. With one big caveat in mind, in its entirety I think 'White woman' rises above the worst of its unseemliness to be an enjoyable, noteworthy drama - just perhaps not as essential a viewing experience as it could have been.
That's the bad news, and to some degree it distracts from the facets to be praised. The good news is that the core is otherwise very strong. The screenplay is wonderfully engaging in relating the story of desperate individuals struggling in one way or another against the manipulative figure that lords over all around him. The broad strokes of the narrative are compelling and satisfying, as is the scene writing that comes across as ably dynamic and charged. Characters show depth and complexity, and the dialogue is alternatingly rich and biting. Moreover, looking to those details that round out the picture, I appreciate the attention to costume design, hair and makeup, and set design and decoration. I think Stuart Walker demonstrates a capable hand as director in arranging shots and scenes, and there's some fine use of lighting here, as well.
Very importantly, the cast rather impresses. Even as they're given fairly high billing, Kent Taylor and Charles Bickford find themselves in supporting roles as David and Ballister only slightly larger than that of Percy Kilbride as Jakey - yet all illustrate a certain poise and strength of personality in their comportment that works wonders to help build the whole. Carole Lombard, comedic genius that she was, takes a turn in a purely dramatic part in 'White woman' as Judith. It seems clear that she was best suited to comedy - but also that she was not to be counted out in straight roles, as she exhibits a refined subtlety to her acting, and measured forcefulness befitting the put-upon lead character.
As much as I love Lombard, however, it's Charles Laughton who most catches my eye in this picture, admittedly at least in part just because Horace H. Prin is so distinct from the other figures in the story. Prin is boastful and grandstanding as he wields power and holds secrets over those in his circle, but is at heart both cowardly with a wide ranging nervous energy. Laughton is an absolute joy to watch as he navigates the intricacies of Prin's huge personality with gratifying range, physicality, and otherwise traits exceeding those even of Lombard and the other costars. Solidly made as 'White woman' is in its craft, so much of the feature's strength lies in the broad strokes of the writing and in the acting, and Laughton is the linchpin of it all.
This film walks a very, very fine line between what is appropriate for the story on hand, and what is shameful (and all too typical of early cinema especially, but also Hollywood in general). The way that native people are depicted and spoken of in the screenplay is sufficiently dubious to detract from the overall worth. At the same time, though, the unnamed tribes in the surrounding jungle are presented not as villains, but as victims likewise subject to Prin's dealings, and who in the end contribute to the provision of a very satisfying ending. This aspect by no means absolves the feature of the prejudice it dallies with, but is an improvement relative to other titles. Case in point - I had mentioned 'Black Moon' only as a point of comparison in noting the racism prevalent in 'White woman,' and it's worthwhile to draw upon that comparison once more. In 'Black Moon' the current of racism is emphatically just as strong as any of the flick's advantages; in 'White woman' the place of similar bias in the story shifts the balance toward a slightly more even-handed approach. It's far from perfect, and frankly a content warning should be appended in this instance, but I understand the tack 'White woman' was ideally taking - only, the writers lacked the tact to complete the image as it should have been.
I would not for one moment begrudge anyone who watches this movie and adopts a harsher, more critical stance than I have. For all that it does well, there's no getting around handling of cultural and racial prejudice that is shaky at best. I'm inclined to think, though, that there's just enough nuance in the role that the indigenous people play in the plot to place a higher cap on one's assessment than we may for another movie with similar issues. With one big caveat in mind, in its entirety I think 'White woman' rises above the worst of its unseemliness to be an enjoyable, noteworthy drama - just perhaps not as essential a viewing experience as it could have been.