Luise Rainer, 1910 – 2014

By Rom Watson
c. December 30, 2014

With the recent death of Oscar-winning actress Luise Rainer, you may be tempted to watch some of her lesser-known films.  These are periodically screened by Turner Classic Movies, usually on her birthday, January 12.  Tread carefully.  Beware The Toy Wife.

Luise Rainer has for decades been my favorite actress.  Rainer, Robert Donat and Paul Muni are the three actors of Hollywood’s “Golden Age” that I hold in highest regard.
Because she’s a favorite, I have seen most of her movies.  Please allow me to steer you through her body of work.

Watch at your own risk:

The Emperor’s Candlesticks (1937).  Dull and forgettable, it feels longer than its 89 minute running time.  If you’ve seen this movie you’ve forgotten it.

The Big City (1937).  The character she plays has to go into hiding, so Rainer doesn’t have much screen time.  She does have nice chemistry with Spencer Tracy, but the movie as a whole is disappointing and unsatisfying.

The Toy Wife (1938).  Yes, Rainer was never more beautiful and alluring, and yes, the gowns (by Adrian) are the most exquisite you’ll ever see.  (Never before or since have I pressed the Pause button to say, “Oh my God look at that dress.”)  Unfortunately, by trying to be tragic the story devolves into a horrible, dispiriting mess.

As much as I admire her, I must admit that she was put into some bad movies while under contract.  In 1965 she starred in an episode of the TV show Combat! entitled Finest Hour, and that episode is more satisfying than The Emperor’s Candlesticks, The Toy Wife and The Big City combined.

Rainer films I have yet to see:

Escapade (1935), her first American film, and the one that made her a star.  I’ve searched for a screening of this film for decades, but it seems to have fallen off the face of the earth.

Hostages (1943), the one film she made for Paramount Studios.

Her 3/3/1984 appearance on The Love Boat also continues to elude me, but some day I will see episode 188 7-22, The Lady and the Maid.

So which Luise Rainer films do I recommend?

The Great Ziegfeld (1936), her first Oscar win for Best Actress.  The film also won the Academy Award for Best Picture.  Contrary to what you may read, Rainer’s role in the film is not small.  She plays the female lead.  The role only seems small because the film is three hours long, covering many decades of Ziegfeld’s life.

The Good Earth (1937).  Her second Oscar win for Best Actress, and the best film in which she appeared.

I won’t say more about these two films, as they are well known and film buffs have already seen them.

But what if you like Luise Rainer and want to watch her in something else besides The Good Earth and The Great Ziegfeld?  Here are your options:

Dramatic School (1938).  Everyone dismisses this film, but I find it entertaining, with a surprisingly modern ending.  Her co-stars include Paulette Goddard, Lana Turner, Erik Rhodes, Hans Conreid and Margaret Dumont.

The Great Waltz (1938).  It’s very dated and frequently corny, but it does feature good work by Rainer, Oscar-winning cinematography by Joseph Ruttenberg, and an Oscar-nominated supporting performance by opera star Miliza Korjus.  Plus lovely music by Johann Strauss II.

The Gambler (1997). The film stars Johdi May, Michael Gambon, John Wood, Polly Walker and Dominic West, all quite good.  Though the film is flawed, I rather liked it anyway, and would have even if it didn’t feature Luise Rainer.  As for her performance, I thought she was wonderful.  All of Rainer’s scenes occur within one 15-minute segment, and that segment is the highlight of the film. Though 86 when she filmed it, she looks 120, especially in the casino scene where the addition of foundation make-up accentuates her age.  I doubt you’ve ever seen an actress look this old on screen.  Why did she do this film, after 54 years away from movies?  I think the reason is the role.  It suits her very well, and gives her the opportunity to do what she does best.  The petulance, the girlish glee, the haughty anger, the aching vulnerability, the supreme sadness: it’s all there, in one 15-minute segment.

Her performance in The Gambler (1997) shows that she never lost what made her a star.