User reviews

Carole Lombard wanted to get out of her next project at Paramount, "A Girl Without a Room" and so went to Harry Cohen at Columbia and asked him to find her something better. He came up with this respectable play by S.N. Behrman. The two main characters, Abby and Rodney, are very ably and sympathetically portrayed, and this saves the picture. On the other hand, Gene Raymond's "best friend" in the picture, Sig, played by Monroe Owsley is a perfect devil, tempting Rodney at every opportunity to ignore his wife and instead spend his nights drinking and his days at the race track. Sig is the personification of evil because he actually doesn't know any other reality that the one he's living sponging off his rich friend, Rodney. Carole on the other hand recognizes the potential in Rodney and does everything in her power to save him.

This film is interesting and enjoyable light soap opera fair. At one point when Carole's character almost looses her composure in front of Rodney's father, the viewer is ready to applaud the explosion, but alas the moment passes. This film could have been well served by a little more action and violent emotion. Perhap's the problem stems from the rather static direction of director David Burton. This is also the first film of Carole's to benefit from the cinematography talents of Ted Tetzlaff. He was able to light Carole in such a way that removed that certain hardness from her face evident in earlier pictures.

Gene Raymond and Carole Lombard, both 25, star in one of the abundant upper crust society pictures made in the early 1930s. Raymond is Rodney Deane, and brings singer Abbey Fane (Lombard) home to meet the family. Abbey is quite cordial to Deane's family, but they are less than enthusiastic to meet her, and things go downhill from there. Lombard had been in films, silents & talkies, for 10 years already, so she is a little more polished here. No real surprises in this one; they needed a comical sidekick, like Edward Everett Horton, or Eric Blore to spice things up. In this one, Abbey does have a sidekick "Steve" (Arthur Hohl) , but he has a small, bland part. She would also make Lady by Choice with Hohl, and Mr. & Mrs. Smith with G. Raymond. A pleasant little film, all neatly wrapped up in an hour & 10 minutes. The film production code must have kicked in already at Columbia Pictures, since it is scrubbed clean of any naughty lines or double entendres. Lombard even sings a song (as of today, its not listed in the "soundtracks" section yet.. anyone know that song?) Good to see performances by Lombard and Raymond, but it is light fluff, and the actors weren't challenged.

Typical quick time 'soap opera' churned out by all the studios to fulfill their theater chain commitments. This COLUMBIA PICTURES effort clocks in at 71 minutes and entertains for most of them. Not a classic but well worth watching.

The story is a typical one of the period, working girl played by Carole Lombard (ABBY FANE) falls in love and marries upper crust scion. Being in 'show business' she does not meet with approval of her in-laws. The husband played by Gene Raymond (RODNEY DEANE) is a aimless but wealthy drifter heavily under the influence of his friend played by Monroe Owsley (SIG).

ABBY keeps trying to get RODNEY to stand on his own feet and become the man she believes he is. SIG at his parasitical best tries to hold on to a good thing, which means plenty of Booze, Night Clubs and 'Fast Times'! ABBY seeks help from RODNEYs' family to get him on the straight path, but no luck. Usual misunderstandings, separation and then RODNEY has a epiphany realizing ABBY was right all along. Redeems himself and true love triumphs.

Carole Lombard portrays her role with intelligence and sensitivity. Hard to believe this attractive and lithe actress the previous decade was a chubby comedian at MACK SENNETT. Gene Raymond a amiable though limited actor fulfills what is required of him. Monroe Owsley has his parasite gig down to a 'T', making a career of such roles. Though his character of 'SIG' is always in the company of women you get the feeling he swims both ways and his friendship with RODNEY may be more then platonic.

Visually, I would have to give this little number a solid 10.

Carol Lombard is at her exquisite best, and one could look at Gene Raymond for a long time without blinking. The cinematography (by Ted Tetzlaff) is absolutely wonderful, and the Columbia design studios provided visuals that are eminently worth recording.

The night club where Lombard preforms is decorated with life-size bronze deer, cast after a model dug up at Pompeii. When Carol/Abby is taken to meet her stuffy potential in-laws, the famous Lombard nipples are pointing directly at her fiancée's mother (covered of course by a little something whipped up by the great costumier Travis Banton).

There is a great scene where the newly-weds are standing at the rail of a big ocean liner, an iconic 30's image with Carol wearing a marvelous hat as only she can. The apartment that Gene/Rodney brings his wife home to is swellegant. (This is an actual 30s expression, as I found it in a catalogue of Warren McArthur furniture published c. 1934!)

Mind you, it's not a "great" film, but it is very entertaining visually--the quintessence of the early 1930s. The original play was by S.N. Berman, so it certainly has good bones.

And ANYTHING with Carol Lombard is well worth watching! Not only was she staggeringly beautiful, but her acting is exquisitely nuanced to well capture a broad range of emotions, whatever her role.

On top of being a huge fan of classic film for goodness knows how long, my main reason for seeing 'Brief Moment' was Carole Lombard. A lovely and always well worth watching actress who died tragically, in one of the worst and most tragic ways to die, far too young with so much more to give. It is always interesting too to see older drama films, whether romantic or melodrama, and those dealing with society/class differences.

'Brief Moment' may not be my definition of a great film and some film-goers today may find a fair deal to criticise it. It however was a very pleasant film that kept me most of the time engaged and entertained, a nice way to pass the time. One of those films that does a lot right but one does wish there could have been more. Just be prepared that there is very little challenging here (which for some actually is a good thing) and one should not demand too much.

It is perhaps unexceptional from a story standpoint, it's pretty thin and sometimes it lacks momentum from moments of static direction and where it feels like a stage play that doesn't always properly open up.

Excepting Monroe Owsley, wringing every ounce of juice out of the most interesting supporting character in the film, the supporting cast are a little bland in fairly sketchy roles. It also feels far too short.

Visually on the other hand, 'Brief Moment' looks beautiful. The cinematography clearly loved Lombard, who looks absolutely radiant in the film, and it is very elegantly produced. "Say What You Mean..." is a lovely heartfelt song that does provide heart. While with little challenging and a little safe at times, the script has wit and class with thought-providing and well-meaning moments.

The story may not be exceptional, but it is amiable, engaging and at least clearly knew what it wanted to be and who to aim it at. Owsley is great fun, but it's the leads that 'Brief Moment' is worth seeing for. Especially Lombard, by far the best thing about the film, a very classy and sensitive performance and one cannot take their eyes off her. Gene Raymond is a likeable leading man and their chemistry makes one believe in their love.

Summing up, a very pleasant watch. 7/10 Bethany Cox

In the time-old tale of a rich boy falling for a poor girl, Gene Raymond falls for Carole Lombard in Brief Moment, much to his family's disappointment. He threatens to marry her, and they cut him off and out. They marry, but in a twist, his father still writes him checks on the side.

The meat of this story is the dissolution of the marriage. After the beginning, Gene's family practically disappears. Gene and Carole learn quickly that love doesn't conquer all. He drinks and gambles, and Carole's heart breaks with each ruined night. I've seen a lot of these types of movies, and this one isn't the best. It's rather stereotypical, boiling down a troubled marriage to a day at the races and too many martinis. But if you like the leads, you can rent it.

Brief Moment stars Carole Lombard and in this film she is gets married to wealthy Gene Raymond who has a nice arrangement with his father Reginald Mason and brother Donald Cook. Dad makes the money and the two of them spend it. Lombard is a nightclub singer who falls for Raymond, but tries to reform him.

Back in the day a character like Raymond was called a wastrel. It's a 19th century word I wish would come back into common usage describing someone who just wants to have a good time and nothing else. They also are wealthy enough to see it works out that way.

During a time when a quarter of the country was out of work such people were really looked down on. Lombard thinks Raymond has abilities but he won't use them. The crux of the story.

One character does stand out that of Monroe Owsley as Raymond's best friend and fellow partygoer. He's a real piece of work.

Brief Moment is a Depression Era story that probably would not work well with a contemporary audience. It's a museum piece of a film.

So one cliché, the greedy gold digger, is subverted and replaced by another one, the spoiled heir redeemed through real hard work. This is a one-idea morality tale, and probably not a particularly original one at that. Yet Carole Lombard and Gene Raymond are very fine, dialogues are brisk and the tempo lively. Some of the supporting actors are also worth a mention - Arthur Hohl as the torch singer's caring boss, friend and wishful would-be husband, Herbert Evans who has a very funny scene as a butler with some useful experience of dealing with his master's hangovers - he looks and sounds like a twin brother of Edward Everett Horton of Lubitsch's fame. That's quite enough to make this simple-minded, unambitious story quite worth watching.

I adore Carole Lombard and was looking forward to seeing this early starring vehicle. Lombard's initial Paramount films in her starlet years were hit and miss, but when she was loaned out to Columbia that so-called "poverty row" studio gave her the red carpet treatment, with beautiful photography, elegant productions, and above all, good roles and scripts, as was the case with "Virtue", "No More Orchids", "Lady By Choice", and eventually, "Twentieth Century", the film that made her a major star. The one Columbia vehicle I hadn't seen was "Brief Moment" and it was not only the one dud in the bunch it also gives Lombard her least appealing character ever, more of a castrator than the helpful spouse she is suggested to be.

Social heir Rodney Deane (Gene Raymond) has fallen in love with sexy nightclub singer Abby Fane (Lombard). He proposes but she is wary how his affluent family will react to her. He brings her briefly to meet the folks where she spends all of five minutes in their presence. They are cordial but frosty and it's clear to the couple they don't approve of the match. The duo go ahead with their plans, apparently cutting the family off completely and then going to Paris for a months-long honeymoon. Returning from the trip, Abby is annoyed that Rodney's best friend Sig (Monroe Owsley) has gone ahead and furnished their new apartment without any request from them although Rodney is happy with the results. Six months into the marriage, Abby is tired of their nightly socializing and bar-hopping and especially the eternal presence of Sig in their lives who she thinks is a bad influence. Abby all but demands Rodney go out and get a job (they've been living on $4,000 a month checks from Deane Sr., though apparently neither of them has bothered with the family since the honeymoon) or she'll leave him. Rodney gets a job on the ground floor of his father's business but is so bored with the low-level job he quits without telling Abby and is off to old tricks, hanging out at the racetrack with Sig when he pretends to be at the office.

This movie is rather boring to begin with but Lombard's character further wrecks the story. First, it's hard to believe a posh nightclub singer would have such an unyielding middle-class mentality that a man has to work even if he doesn't need the money and her delusionment with Raymond seems strange given this this the Rodney she had always known when dating, the on the town playboy. Sig at one point refers to Rodney as "henpecked" and while that's not what the screenwriters were suggesting, it's undeniably true, Abby tells Rodney what he is to do with his life and there is no if's, and's or but's for her. Her control freak edge is indicated early with her cutting his family completely out of their lives after one five-minute meeting, never trying to make build bridges and make amends and yet the movie makes it like Abby is in the right at all times. The script clearly has an anti-upper classes stance that presumes the general working-class moviegoing public of the era will agree that the rich are the real ones without class.

Lombard is gorgeous in this as always but this unpleasant characterization is hard to take. When she's not barking orders, Abby is crying - more than getting a job, Rodney needs to run like hell! I hate the see the wonderful Carole playing such a harpie Gene Raymond was never one of the better actors among the era's leading men but he's ok here. Arthur Hohl as Abby's sole friend, the unhandsome nightclub owner who has an unrequited love for her is the one sympathetic character in the film. Sole acting honors go to Monroe Owsley as caustic, shallow buddy, Sig, a role in which the famous theatre critic Alexander Woolcott made his stage acting debut to great acclaim.

I could not believe this dull, anti-rich drama was based on an S. N. Berhman play. Behrman made his name for his social comedies on the stage and this would really be biting the hand that buttered his bread. I looked up the plot of the play and while Abby and Rodney are both nightclub singer and playboy in it, there's little else in common with this hokum. In the play, Rodney proposes to Abby because he likes her drive, having none of his own. She admits he's not the love of her life but she agrees to marry him for the chance to crash society. When Abby again meets the playboy polo player who was her true love but wouldn't marry her, she plots to humilate him as he did her, flirting with him as if they might resume their affair as they hit the town and cause a scandal. Her plans backfire though and it's Rodney who wants out and Abby realizes she needs to stick with what she has, even if it burns out after a "brief moment". Behrman's play was a sharp comedy but certainly Hollywood was not going to make a glib movie about semi-open marriages in the 1930's so screenwriters Brian Marlow and Edith Fitzgerald came up with this bucket of self-righteous slop. Hopefully Behrman was well paid for the bastardization.