Lady for a Day

Director: Frank Capra
Written by: Robert Riskin, based on "Madame La Gimp" by Damon Runyon
Year: 1933
Genre: Comedy-drama
My rating: 4 out of 5

In this Capra classic, we are introduced to the main character quickly. She is Apple Annie (Oscar nominee May Robson), an aging, poor New York apple seller. Her life may not be perfect, but she is content. Her daughter, Louise (Jean Parker), has been raised in a Spanish convent since she was an infant. The two correspond via letters, in which Annie claims to be an upper-class socialite living in a fancy hotel, to prevent Louise from being ashamed of her. Complications arise, however, when Louise announces that she will be visiting with her fiancee, Carlos, and his father, Count Romero, who wants to meet his daughter-in-law-to-be's mother before he gives his consent. Annie becomes frought with worry, but quickly undergoes a transformation into her alter-ego, Mrs. E. Worthington Manville, with the aid of one of her most dedicated patrons, a superstitious, gambling gangster known as Dave the Dude (Warren William). Also assisting in the hoax are the Dude's girlfriend, nightclub owner Missouri Martin (Glenda Farrell), and his delightfully pessimistic right-hand man, Happy McGuire (Ned Sparks).

There are many reasons that this movie works so well. The most obvious is its plot; it is one of the earliest films that can be categorized as both mistaken identity and rags-to-riches. Few movies have implemented the same hybrid plot device, and even fewer have been so successful. Another of its impressive feats is its wide range of comedy styles. At times characters can be very witty, and at others the laughs are supplied by pure slapstick. What separates "Lady for a Day" from most comedies, however, is its understanding that if the main character is multi-dimensional enough, the supporting characters can be blatantly one-dimensional and the movie will still be entertaining. And the main character in this case is indeed very multi-dimensional, as May Robson expertly portrays her in a myriad of different situations and accompanying emotions.

At the 1934 Academy Awards, "Lady for a Day" was nominated for Best Film, Best Director, Best Actress, and Best Adapted Screenplay, but lost all four.


Structure/Form:
Are there any repeated scenes, images, dialogue, etc.? What purpose do they serve?
Not stylistically, no. But there are several consistencies among characters which pertain to the plot, such as Dave the Dude's gang repeatedly kidnapping reporters who come asking questions.

Is sound used in any vivid ways to enhance the film?
Classical music is played at times, which enforces the importance of the upper-class mood.

Are there any striking uses of perspective?
One instance that I can think of is when the ship is entering the harbor in New York, and for a bit we see through Louise's eyes as she scans the crowd for her mother.

What specific scene constitutes the film's climax? How does this resolve the central issue of the film?
A party is planned with trained guests to impress Count Romero, but it is called off when Dave and Happy are arrested for kidnapping the reporters. The climax occurs when Annie prepares to confess to Louise, Carlos, and the Count, but right before she does, the guests come in the door led by the sympathetic mayor and governor who have had the situation explained to them by the Dude, and the party commences.

Does the film leave any disunities at the end? If so, what does it suggest?
Louise, Carlos, and Count Romero leave New York still thinking that Annie is Mrs. E. Worthington Manville. Though this means that the Count will give his consent for the marriage, problems could arise in the future if they visit again. We are also not provided with a definite resolution to Dave and Happy's run-in with the police.

Why does the film conclude on this particular image?
It ends the movie on a happy note, assuring us that the conflict has been resolved.


Theme:
How does this film relate to the issues presented or developed? What questions are evoked by the film? Does the film present a clear point of view on an issue?
There are two themes in particular that I was able to see in "Lady for a Day." The first is a display of social classes, and their potential compatibility.. The movie's setup shows a clear separation between Annie and those who lead a more lavish lifestyle, and many characters initially find the idea of turning Annie into a classy woman preposterous. The way the film progresses suggets that anyone can be anything, with a little help. The second (less likely) is an example of a case in which lying would be acceptable. Annie puts on the charade for the sake of her daughter's happiness, and we can tell she is genuinely concerned.

Are there any aspects of theme which are left ambiguous at the end? Why?
Yes, we have no idea what happens after Louise, Carlos, and Count Romero leave. I suspect that an extended conclusion would have been tackled, but it was probably too difficult to find an ending happy enough.


Mise en Scene:
The moment where Annie emerges after Missouri Martin and her posse give her a makeover.

Dominant: Where is our eye attracted first? Why?
Annie's (now techinically Mrs. E. Worthington Manville) "new" face and hairstyle.

Lighting key: High key? Low key? High contrast? Some combination of these?
Mostly high key, to accentuate Annie's face.

Shot and camera distance: What type of shot? How far away is the camera from the action?
The camera seems set up in the middle of the room, to give us the perspective of Dave the Dude and his gang as she enters.

Angle: Are we looking up or down on the subject, or is the camera eye level?
Eye level.

Subsidiary contrasts: What are the main eye-stops after taking in the dominant?
There aren't any, really. The background is quite bland.

Density: How much visual information is packed into the image?
We can see that Annie clearly looks different, that Missouri is proud of her work, and that Annie is apprehensive.

Composition: How is the two-dimensional space segmented and organized?
Annie is standing (facing the camera) in a doorway that takes up the left half of the screen, and Missouri is standing next to the doorway looking back at Annie after having announced her entrance.

Framing: Tight or loose? Do the characters have no room to move around, or can they move freely without impediments?
It looks fairly loose, but Annie's expression implies a bit of claustrophobia.