Moss Rose

It's amazing the degree of professionalism Hollywood reached in those early decades. The foggy London street scenes are superb, the mansion interiors impeccable, the costumes perfect, the women hairstyles... (are there hairdressers nowadays able to duplicate those Victorian hairstyles?). And of course the acting impeccable. Peggy Cummins off camera voice at the beginning, explaining the situation reveals a child speaking, such is her Betty Boopish voice.

Eventually she appears and throughout the whole film mesmerizes us with her blond Lolita looks and startling acting ability. Precisely with all that Hollywood professionalism it's difficult to understand why, a cockney like Cummins character, that speaks like a regular Eliza Doolittle, all of a sudden loses her typical speaking mode and starts, very naturally, to speak in a normal intercontinental English.

It took Eliza many months of extremely harsh study to get rid of her cockney intonation, but this character does it in a jiffy (without the help of a professor Higgins!!), and nobody questions that miraculous change! The movie is entertaining and very predictable; the end is rushed in, ruining everything previously done, but I imagine it was part of fitting the story within a certain length of time.

I saw "Gun Crazy" before, where I "discovered" Peggy Cummins and found her (in a totally different rol) quite a trouvaille! sort of a Veronica Lake (as petite as her) and unusual, like a Gloria Graham. Lovely with her round mouth, sting lipped childish appeal (and voice!). Nice, cozy movie to watch (we are so familiar with the formula!) when it's raining and dark outside.

A distinguished cast (including a pre-horror stardom Vincent Price as a police inspector!), a clever "voice recognition test" sequence, and some plot surprises make "Moss Rose" worth your while, although it's quite slow-moving and somewhat derivative. The mystery resolution has some daring psychological implications. **1/2 out of 4.

Chirpy cabbies and fake fog abound in this Victorian murder mystery which ticks all of the boxes.

Daisy Arrow, a showgirl, is murdered in her room, but her friend Rose (Peggy Cummins) sees a well-dressed man leaving hurriedly. She discovers he is Michael Drego (Victor Mature), an aristocrat, and reports him to Inspector Clinner (Vincent Price). However, at the last moment she deliberately fails to identify him, choosing to use the situation to her own advantage which is - going to his country estate and experiencing the high life. Amazingly he agrees and takes her with him, explaining that she had helped him with a police matter. His mother Lady Margaret (Ethel Barrymore) takes to her, but fiancee Audrey (Patricia Medina) is suspicious of Rose's motives. Suddenly Inspector Clinner turns up. He is investigating the significance of a Bible and a Moss Rose which were found at Daisy's murder scene. The Drego's gardens are known for growing the flowers out of season and, the Bible is a new edition which could have been purchased at the local village book store. Rose tries to keep out of sight but is seen by Clinner who later sends for her. She is about to leave when Michael reveals he has fallen for her and wants to break off his engagement to Audrey. Rose is confused, but later when Audrey finds out she threatens to ruin Rose. Attempting leave again she finds Audrey, dead with a Bible and rose by her. This time Michael is arrested and the distraught Rose is looked after by Lady Margaret.......

The audience will probably have guessed the ending by this stage, but it has to be admitted that the film is entertaining. As others have mentioned, Vincent Price would probably have been better cast as Michael Drego. His distant,dreamy air would have suited the equivocal nature of the character better than Mature's brash approach. This is another of Hollywood's "British" films, but most of the cast manage a passable English accent, with the exception of Mature who goes for the spent-his-childhood-in-Canada cop out. Acting honours however go to the incomparable Ethel Barrymore who portrays Lady Margaret in every guise, from imperious matriarch to blubbering hysteric. The only fly in the ointment is Cummins. Her Cockney accent is the worst, most irritating I've ever heard, and that includes Dick Van Dyke in "Mairy Paw-puns!" For a Brit, Cummins sounds more like an American actress making a very poor attempt at the dialect. Fortunately she doesn't resort to "Strike a light!" or "Yer can't do that there 'ere!" That apart, if you can immerse yourself in the atmosphere, you will enjoy it.

Gabrille Margaret Long, writing under the names of Majorie Bowen and Joseph Shearing wrote many fascinating novels based upon actual murder cases using her own interpretations as to what actually happened and who was really guilty. This novel and film "Moss Rose" is based upon an 1873 murder of a prostitute named Buswell, which was never solved. Other Shearing novels turned into films around this time are "Blanche Fury" and "Mark of Cain ("Airing in a Closed Carriage" based upon the Maybrick case).

Shearings novels are very hard to adapt and the film "Moss Rose" differs very much from the novel. So much so, that outgside of the basic idea it is almost a complete revision of the novel. Nevertheless, this film is very well produced with the sets and costumes capturing the late Victorian ambiance and a outstanding performance from England's Peggy Cummins. She captures the spunky cockney persona of "Belle Adair", while showing the vulnerability of a young woman alone in the world and making her way during an era of very closely defined social classes. Even when she is blackmailing a aristocratic family, she is still likable.

All in all, very well done and well worth watching.

It's that smudge of fog called London under the reign of Victoria. When a music-hall dancer is murdered, a moss rose marks the page of a Bible next to her body. Luckily, another chorus girl (Peggy Cummins) saw a gentleman (Victor Mature) leaving the lodgings. She approaches him directly, saying she'll go to the police if he doesn't meet her demands, but he brushes her off contemptuously. When he learns she's dead serious, he tries to buy her off with a thick wad of pound notes. But it's not money she's after; all she wants is two weeks at his country estate, living the life of a `lady.'

And here Moss Rose, which has taken its time working up a head of steam, branches off onto a new siding. The estate contains not only Mature, his fiancée (Patricia Medina) and his formidable old dowager mother (Ethel Barrymore), but also a greenhouse where out-of-season moss roses bloom.

Apart from a few Eliza-Doolittle faux pas, the classes do not clash. Barrymore, in fact, extends Cummins a matey welcome; even Medina tries to put aside her understandable jealousy. The only apple of discord falls when Cummins strays innocently into Mature's boyhood rooms, which Barrymore preserves as a secret shrine.

Cummins finds the pastoral scene (`You'd expect to see a calendar pasted under it!' she exclaims) lives up to all her expectations. Thrown together, Mature has thawed markedly towards Cummins, and she towards him. But their idyll comes under siege with the arrival from London of bumbling Scotland Yard detective and amateur horticulturist Vincent Price, still investigating that pesky homicide. Soon there's another murder, another Bible, and another moss rose....

An old-dark-house costume drama akin to My Name Is Julia Ross or The Spiral Staircase, Moss Rose finds its strength in its actors rather than its direction (by Gregory Ratoff). While Mature stays four-square and Price unctuously fey, Barrymore predictably grande-dames it to the hilt. Cummins is lovely and quite good as a Cockney diamond-in-the-rough, but leaves nothing like the impression she would two years later as Annie Laurie Starr in Gun Crazy. An air of the contrived lingers after Moss Rose, more faded than pungent, but it's cozy and reassuring, too.