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Sin of Madelon Claudet [VHS]

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"The Sin of Madelon Claudet" is a true movie classic released in 1931. Every detail of this film is very heartfelt. The plot was written beautifully, adapted from the stage play "The Lulluby". It explores Madelon's life as she faces many tragic events in her life, which she never deserves. From the moment she's wrongfully accused of being knowledgely romantically, associated with a jewel thief, the dramatic theme builds and becomes more heartfelt. Regardless how traumatic every scene is, it never ends. Her many life struggles after being released from prison are brilliantly desplicted. No detail is dull for a single second. The overall plot has many qualities that are used in modern-day films.

Helen Hayes deservingly won her Oscar for Best Actress for her role as Madelon. This marks one of the greatest performances from a debut film actress. She was previously well-known only in Broadway. Her acting remains ahead of its time. She pours every drop of heart and soul through her character to produce a flawless performance. Even her performance as an old woman is convincing. All other actors were also well-known Broadway actors. They wonderfully adjusted to film acting, giving beautiful performances.

This version offers the picture quality that was shown as film strip in 1931. The tiny white dots and the occasional white horizontal lines are how. Keeping this is great. It shows the exact theme depth that the movie producers intended to present it. Changing the visual quality would have ruined this effect.

The conclusion keeps the audience thinking after watching it rather than revealing it bluntly. Most other scenes are the same, which is great. That is only one of many reasons why "The Sin of Madelon Claudet" is now a classic. It's sure to please many audiences.

Those who love vintage films will surely enjoy this one. Based upon Edward Knoblock's play, "The Lullaby", it features the magnificent Broadway star, Helen Hayes, in her film debut, playing the role of naive, French country girl, Madelon Claudet. It was a most auspicious debut, as it earned Ms. Hayes the 1932 Academy Award for Best Actress for her performance.

The story is an age old one. Madelon Claudet leaves home and runs off to Paris with her American lover, Larry (Neil Hamilton). After he abruptly returns to America, Madelon discovers that she is pregnant. Abandoned by her lover, she gives birth to a baby boy whom she names Larry. Desperate to provide a life for her baby, she becomes the mistress of a charming, apparently wealthy man, Carlo Boretti (Lewis Stone), with whom she falls in love. Meanwhile, her baby is being taken care of by her friend, Rosalie (Marie Prevost).

Unfortunately, a stunning turn of events reveals that Boretti is a jewel thief and due to her association with him, she ends up going to prison. Upon her release from prison, she makes up her mind to do everything she can to give her boy a chance in life. With the help of a Dr. Dulac (Jean Hersholt), one of the directors at the charity school where her boy, Larry, now lives, she arranges to send money so that he can someday go to medical school.

She provides for her boy the only way she knows how, as a prostitute and thief. She has only one goal in mind, to give her boy the opportunity to be all he can be. The viewer sees the toll that this hard street life takes upon Madelon, as she ages from a softly rounded, young beauty to an old, withered woman at the end. It is Ms. Hayes' artistry and not just makeup that succeeds in transforming Ms. Hayes into a frail, beaten down, wizened crone.

The scenes where she meets her boy at the age of ten (Frankie Darro) and as a grown, accomplished Doctor (Robert Young) is sure to touch the heart of even the most hard hearted of viewers, so deftly played and poignant are the scenes. It brings to mind films like "Stella Dallas" and "Madame X", as the film is ultimately about the depths of a mother's love and the sacrifices that some mothers are willing to make for their young.

Beautifully directed by Edgar Selwyn and deeply moving, with a notable performance by Lewis Stone as the dapper and debonair Carlo Boretti, this is a film to be enjoyed as much today, as when it was first released. While some of it may seem dated, it is still a gem that is meant to be treaured.

In one of their early attempts to build "prestige" the "Academy" followed their previous awards to Mary Pickford (on the way out onscreen...still big noise off) and Mrs. Irving Thalberg Norma was actually popular with the public and moderately respected by the public...but everyone really knew why she got the plum roles and the award) by bowing to well established stage star Helen Hayes and giving her top honors for a film she personally derided. This was popular with the masses at the time...and serves as a nice relic of MGM schmaltz of the time...but without the Oscar Winner buzz the dust would no doubt be very thick on this one!

The Sin of Madelon Claudet is the story of a woman (Helen Hayes) whose life brings her more trouble than happiness. She begins as a poor girl enticed by her love for a wealthier painter. The two are desperately in love, but his society and family and friends coerce him away from Madelon, leaving her alone and pregnant. When her son is born, she takes up with a rich friend (Lewis Stone) to get money. When he asks to marry her, she graciously accepts, especially since he has no qualms about her son. However, that relationship leads to disaster as well. She is taken to jail for a crime she did not commit, forcing her son into a poor school. When she gets out, she sacrifices her virtue in order to support him so that he can become a great man.

Helen Hayes is wonderful in this film. She is dainty and very pretty. Her face is like a mature version of Ruby Keeler's. She is a natural actress; one does not notice that she is performing at all.

Lewis Stone is sweet and aristocratic, but his part is relatively small despite his character's impact on the story.

Marie Prevost plays Hayes' friend Rosalie, a noticeable and likable role.

Jean Hersholt plays an understanding character who helps to explain decisions made in the film. He is likable despite his small part.

This film was made before the production code, but it is often neglected as a film from the era. Still, it includes several shocking elements for films of the era including having children out of wedlock, kept women, and crime.

The mechanics of this film were done very well. Although there are some loud silences due to the technology of early sound, the rest is outstanding. Montages are used, a new technique for the time. Also, the makeup used to age Helen Hayes was done very very well. Although Hayes looked quite youthful in reality, she does not look strange in her scenes as an older woman.

An antique curio from 1931 which is made watchable out of basic curiousity more than anything else. The incredible Helen Hayes won an AA for this - her first film role. Based upon THE LULLABY, Helen is naive and simple as the innocent young country girl in love with (God help us all) Neil Hamilton (remember the hammy inspector Gordon on BATMAN?). It's a story (more complex than most - in a MADAME X vein) about mother love and self-sacrifice. Madelon becomes a kept woman who gets involved with a lurid scandal -and does time - eventually she takes a walk down the primrose path. The make-up used to age Hayes is astonishingly realistic, but it's Hayes's acting expertise (even at the age of 31) which makes one believe that she's an elderly person - her voice, gestures and inflections are amazing to observe. Madelon's little boy grows up to a highly esteemed doctor (he's played by the 24-year-old Robert Young). Marie Prevost plays Helen's pal Rosalie and she's memorable as the common little tart with a heart. The unfortunate Prevost (her good friend was Joan Crawford) was a pathetic creature. A weight problem denied her roles in pictures and she was found dead in 1937 of malnutrition in a seedy room half eaten by her dog. There was a modest cheque found in her dresser endorsed by none other than Joan Crawford.