In Name Only

Directed by John Cromwell, In Name Only follows Cary Grant’s Alec Walker as he falls for a single mother named Julie (Carole Lombard) – with complications ensuing after Alec’s wife (Kay Francis’ Maida) learns of the affair. It’s comfortably familiar subject matter that’s employed to somewhat erratic yet mostly entertaining effect by Cromwell, as the filmmaker, armed with Richard Sherman’s script, delivers a deliberately-paced endeavor that grows more and more engaging as it unfolds – with the sluggish first half, at least, allayed by the superb efforts of its three stars. (Lombard and Grant are quite good here, of course, but it’s Francis’ deliciously villainous turn that remains a continuing highlight.) The picture’s shift from decent to engaging, then, is triggered by an increased emphasis on salacious elements and plot twists (eg there’s a terrific scene wherein two characters horrifyingly overhear something tawdry), and it’s clear, ultimately, that In Name Only builds towards a tremendously satisfying final stretch that confirms its place as a solid 1930s melodrama.

**1/2 out of ****