} Crítica Retrô: Sábado Alegre / Hot Saturday (1932)

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Wednesday, November 30, 2016

Sábado Alegre / Hot Saturday (1932)

ESTE ARTIGO CONTÉM SPOILERS.

THIS ARTICLE HAS SPOILERS.

Há algo de encantador em cidades pequenas. As casinhas com cercas baixas. As lojas passadas de pai para filho. O parque ou o lago onde acontecem todas as funções sociais. O fato de que todos se conhecem. E há algo de podre nas cidades pequenas também, e justamente pelo motivo de que todos se conhecem. É terreno de fofoca, inveja, reputações destruídas por boatos. A reputação de Ruth (Nancy Carroll) em “Sábado Alegre” é destruída justamente por um boato. Se eu fosse Ruth, nem me importaria: afinal, o boato envolve ninguém mais ninguém menos que Cary Grant.

There is something charming in small towns. The little houses with low fences around. The mom and pop stores. The park or lake where all the picnics happen. The fact that everybody knows everybody. And there is something rotten in small towns as well, also because everybody knows everybody. Small towns are ground for gossip, jealousy, are places where reputations are destroyed by rumors. Ruth’s (Nancy Carroll) reputation in “Hot Saturday” is destroyed by a rumor. If I were Ruth, I wouldn’t care: after all, the rumor involves Cary Grant!
Ruth trabalha no banco e é cobiçada por todos os funcionários do sexo masculino. Ela rejeita diversos convites para sair, mas finalmente cede quando Conny (Ed Woods, que interpretou o irmão bonzinho de James Cagney em “Inimigo Público” em 1931) a convida para ir ao clube numa tarde de sábado.

Ruth works at the bank and all the male employers are interested in her. She refuses several approaches, but finally capitulates when Conny (James Woods, who played James Cagney’s good brother in ‘The Public Enemy” in 1931) invites her to go to the club on a Saturday afternoon.
Naquele sábado alegre, em uma bela casa em frente ao lago, os jovens se divertem, nadam, passeiam de barco e comem. Mais tarde, eles vão para um baile. O dono da casa é Romer Sheffield (Cary Grant), que tem a má fama de ser um garanhão que não espera até a noite de núpcias para ter intimidade com suas namoradas.

On that hot Saturday, in a beautiful house near the lake, the young people have fun, swim, ride boats and eat. Later they go to a dancing house. The owner of the house by the river is Romer Sheffield (Cary Grant), who is a known womanizer who can’t wait until the wedding night to get intimate with his girlfriends.
Romer não vai ao baile, mas Ruth e Conny vão. Pouco depois, eles pegam um barco e Conny tenta beijar Ruth contra a vontade dela. Ela resiste e sai correndo, e em busca de ajuda vai até Romer, que pede que seu motorista a leve de volta para casa. Mas Conny não vai deixar barato: com a ajuda de Eve Randolph (Lilian Bond), a ciumenta filha do dono do banco, ele espalha um boato sobre Ruth.

Romer doesn’t go dancing, but Ruth and Conny do. A little later, they catch a boat and Ronny tries to kiss Ruth against her will. She resists, runs away and asks Romer for help. He listens to her, comforts her and asks his driver to take her home. But Conny is planning revenge: with the help of Eve Randolph (Lilian Bond), the bank owner’s jealous daughter, he starts a rumor about Ruth.
Logo todos na cidade ouvem a fofoca: Ruth passou a noite com Romer. Cada um que espalha o boato adiciona um toque de malícia. Ruth é demitida e se torna pária em sua cidade. Vítima da hipocrisia, ela vê uma chance de redenção em um velho amigo de infância, Bill Fadden (Randolph Scott), que confessa que sempre foi apaixonado por ela. Ruth decide se casar com ele. Mas será que ela o ama de verdade?

Soon everybody in town know about the gossip: Ruth spent the night with Romer. Each person adds a new spicy detail when spreading the rumor. Ruth is fired and becomes persona non grata in the city. A victim of hypocrisy, she sees a last chance of redemption in her childhood friend Bill Fadden (Randolph Scott), who confesses he has always been in love with Ruth. She decides to marry him. But is it true love?
A construção da história até chegar ao clímax – o ostracismo de Ruth – é lento, levando 40 minutos. Sobram apenas mais 32 para a história ser finalizada. Mas que final mais deliciosamente... pre-Code!

Building up the story until the clímax – that is, Ruth’s ostracism – takes 40 minutes. We have only 32 more minutes left until the end. But the end is deliciously… pre-Code!

Há uma cena em especial que grita pre-Code: vemos Ruth trocando de roupa, ficando apenas com um saiote quase transparente. E ela faz isso logo depois de tirar, à força, os shorts que a irmã pré-adolescente havia pegado de sua gaveta. É uma sequência que deixaria William Hays de cabelo em pé.

There is one scene in particular that screams ‘pre-Code’: we see Ruth changing clothes, and she wears a near transparent negligee. This happens right after Ruth violently undresses her teenager sister because the little girl had stolen her new shorts. It is a scene to freak William Hays out.
Cary Grant, pela primeira vez com seu nome no topo dos créditos, é muito sedutor já aos 28 anos. Além disso, ele aparenta usar bastante lápis de olho e rímel, que deixam seu olhar penetrante. Randolph Scott tem um personagem que consegue ser denso mesmo com poucas cenas, e é interessante ver os dois melhores amigos na vida real em uma pequena disputa cinematográfica pela mesma mulher. Eles fariam mais um filme juntos, “Minha Esposa Favorita” (1940).

Cary Grant, first-billed for the first time in his career, is a very seductive 28-year-old. And he achieves a powerful look in his eyes by, apparently, using a lot of makeup and mascara. Randolph Scott plays a character that could be dense and well-constructed even with little screen time. It’s interesting to see the two best friends in real life competing for the same woman on the screen. Grant and Scott would make one more film together, “My Favorite Wife” (1940).
O final é redentor, e muito moderno e necessário. Nancy Carroll arregala os olhos e percebe que precisa cuidar de sua própria vida, capitanear seu destino sem se importar com o que os outros pensam. É impressionante ver que um filme de 1932 tem temas tão atuais. É triste perceber que as questões (especialmente para mulheres) são as mesmas de 80 anos atrás. E é mais triste ainda saber que a sociedade continua hipócrita, mas sem a presença de Cary Grant para embelezar o mundo.

The ending is redemptive, very modern and necessary. Nancy Carroll has her eyes wide open when she realizes that she must mind her own business and live her life without bothering about the opinions of others. It’s surprising to see that a film from 1932 has such a modern theme. It’s sad to see that some troubles (for women, in special) are the same as 80 years ago. And it’s even sadder to know that society has still a lot of hypocrisy, and Cary Grant is not here anymore to make the world a little more pleasant.

This is my contribution to the Cary Grant blogathon, hosted by Laura at Phyllis Loves Classic Movies.

7 comments:

Caftan Woman said...

Great choice for the blogathon and wonderful critique. The movie is quite a roller coaster ride for our heroine. It is the only time I have seen Nancy Carroll and she is very appealing. Love that ending!

Rich said...

Cary Grant with mascara is like getting an A without studying and then going for an A-plus.

Anonymous said...

Excellent post. Sadly I've never seen this film, but after reading this, I will add it to my must watch list. Great unique film choice for the blogathon.

I also invite you to check out my contribution to the blogathon

https://crystalkalyana.wordpress.com/2016/12/01/the-magic-of-kate-and-cary/

Michaela said...

There are quite a few of Cary's early, early films that I haven't seen yet, this being one of them. My goodness, though, look at how gorgeous he was! I mean, he always was, but still... Interesting post!

Danilo Castro said...

I haven't had the pleasure of seeing this film, but I have to say I'm interested. He looks so young! Great addition to this celebration of all things Grant.

Flapper Dame 16 said...

I saw this one when Cary was Star of the month in Dec 2014 but I must say I need to see it again- Maybe I wasnt in the mood ehrn I forst watched it- But I think I need to give it another chance- I love pre code Cary!

Phyl said...

I've only seen two of Cary's pre 1937 films - Suzy and Sinners in the Sun. I'm glad you chose to write about one of his Pre-code films!! This one sounds good!! I can't stand how back then a guy could ruin a girls reputation and no one would ever listen to her side of the story.

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