While it is remarkably different than what is presented on screen these days, the idea that any amount of feminist ideology could sneak its way into a feature in the Golden Age of Hollywood is quite a surprising one. What little we did get in the 1930s was primarily owed to Dorothy Arzner, the only woman to be making studio films during this decade. Her films often called attention to how women suffer in the socially sanctioned prison known as marriage. This may sound kind of extreme, but especially during this time women often had to give up careers, hobbies and their sense of self to be the perfect housewife. Her tenth feature, and her last for Paramount Studios, Merrily We Go To Hell, is an excoriating portrait of what happens when a woman falls in love with a narcissistic and oblivious alcoholic who cannot give her the attention she deserves. Based on the novel I Jerry, Take Thee, Joan by Cleo Lucas, Merrily We Go To Hell proudly embraces its status as a pre-Code film to deliver a knockout narrative.
It is only fitting that we first meet Jerry Corbett (Fredric March, The Best Years of Our Lives) as he drunkenly exiles himself on a rooftop away from a raucous party. Jerry is a respected journalist who will mostly be found in a state of inebriation throughout the duration of the film. He is not quite taking in everything that is going on, but he does take note when the young Joan Prentice (Sylvia Sidney, Beetlejuice) makes her way into his enclave of empty bottles. Joan is an heiress to one of the richest men around, and she is in desperate need of a respite from the revelers. Jerry may be drunk, but he is more of a “fun” and “charming” drunk than belligerent, and Joan instantly takes a shine to him. He is someone who is easy to like at this moment, but everyone can see it is trouble when Jerry proposes to Joan – even more so when she accepts. Jerry casts no illusions as to his true nature when he fails to even show up to their engagement party after passing out drunk. Even with the pain and embarrassment showing up on her face, she still takes him as a husband – for some bewildering reason she is determined to make this relationship work.
Arzner is known for getting strong performances out of her female stars, but March caps off this final of four collaborations with the director with his own standout performance. The performance is not over-the-top, but it is very effective with its complexity. Playing drunk can go very wrong in lesser hands, but March knows how to balance the contemptible nature of the character with something in the realm of charm. When Jerry is sober for a period of time, you are rooting for him to stay that way, both for himself and for dear Joan. Jerry is a weak man, though. His lack of success in getting his play developed puts a pall on the marriage before it even officially starts falling apart, and a change of fortune only pushes him too much in the other direction to where he starts over-indulging on the alcohol and straying outside of his marriage. Jerry does not tell Joan that he loves her because he knows he does not deserve to tell her such things. He is despicable, but you still want him to better himself.
Where the film really shines is with Sidney, who embodies tragedy within her marriage with a heartbreaking grace. She is the victim of a lousy husband, but she is not portrayed as a helpless figure like might typically occur. She is someone who can indulge in equally “shocking” behavior when backed into a corner. Arzner presents her with a notable physical stature even with her petite frame. It is when she pushes in on her face that we see the layers underneath this jilted woman, someone who is moments from either crying or bursting into a laughing fit. You sympathize with her as you experience the pain of every development along with her. Arzner does not go easy on the institution of marriage, but by the end of the film you are left with a powerful conclusion. The mixture of tragedy and hope is used in a very effective way that makes you wish more female filmmakers were able to create during this period of time. The journey is not always pleasant, but it is more nuanced than many similar films of the time. Between the dearth of female filmmakers and the impending Hays Code, Merrily We Go To Hell feels like something we were very lucky to get.
Video Quality
Merrily We Go To Hell makes its Blu-Ray debut in its original 1.37:1 thanks to The Criterion Collection with a brand new 1080p master from a 4K scan of the composite duplicate negative. For a film that is pushing 90 years old, this is a truly spectacular presentation. The gorgeous black-and-white photography shot by David Abel shines in high definition with natural grain intact. There is a pleasing amount of detail present with nice textures on the clothing and within the production design. The new transfer shows off a great amount of depth and enhanced detail within the film’s composition. Black levels are very deep with no overwhelming occurrence of black crush or compression artifacts. Only a few instances show a bit of weakness in this regard. The contrast is well defined, and the track only experiences a minor amount of flicker and stray hairs on the print. The Criterion Collection has done some marvelous work here.
Audio Quality
The Blu-Ray comes with a solid LPCM 1.0 audio track that serves this movie incredibly well with a pleasing fidelity. Dialogue and background noises are represented in perfect harmony with all competing elements. This track does present with a minor amount of faint hissing in the quietest moments that likely date back to the source elements. The music never overpowers the dialogue or other important information. There are optional English (SDH) subtitles included for the feature film. The good folks at the Criterion Collection have done their best to provide the most stable track possible for this one.
Special Features
The Criterion Blu-Ray of Merrily We Go To Hell includes a foldout booklet featuring the new essay “Gingerbread, Cake, and Creme de Menthe” by author and professor Judith Mayne in which she discusses the themes and cultural relevance of the picture, the place of this film is Arzner’s filmography, the framing of Joan to not be physically insignificant and more. This provides a great amount of context and insight into the film that is so worthwhile. The on-disc special features are as follows:
- Cari Beauchamp: A nearly 27-minute new video essay in which film historian Cari Beauchamp takes you through the incredible life of Dorothy Arzner from dreams of helping in the war efforts to her introduction to the movie business. The piece delves into her professional relationship with DeMille, her basic idea for the boom mic, the production of Merrily We Go To Hell, working in a pre-Code era, the visual poetry of the film, the performances in the film, the impact of the Great Depression on the film industry, Arzner’s post-Paramount career and more. This is such an insightful piece than any film fan should take a chance to view.
- Dorothy Arzner – Longing For Women: A 47-minute short film from 1980 in which filmmaker Katja Raganelli and her husband, cinematographer Konrad Wickler, traveled from Munich to California to create a documentary about Azner. This piece is especially poignant as it takes place after the recent death of the historic filmmaker from a car crash. The two take the audience on a journey through her life by visiting her home and examining personal photographs. Actor Esther Ralston also gives an interview about Arzner that allows for more interesting, personal anecdotes to be shared. This is a very enlightening supplement that bolsters the overall package quite a bit.
Final Thoughts
Merrily We Go To Hell is a striking film that bravely tackles topics of female sexual liberation and alcoholism with the bite of a much more modern film. Director Dorothy Arzner was a pro at getting the best from her performers, but she must be equally commended for crafting a version of this story that feels radically fresh. The film can be quite a tough watch at times, but it is supplemented with enough comedy to keep it from becoming too bleak. The Criterion Collection has provided a new Blu-Ray that sports a strong A/V presentation and some insightful supplemental features. With this release, you can support one of the great early female filmmakers and watch a great film. Recommended
The Criterion Collection edition of Merrily We Go To Hell will be available to purchase on Blu-Ray and DVD on May 11, 2021.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: The Criterion Collection has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
