MGM. 74 minutes.

US general release: 8/31/34.

VHS release: 12/11/91.
Warner Archive DVD release: 3/23/09.

Cast: Joan Crawford (as "Diane Lovering"), Clark Gable, Otto Kruger, Stuart Irwin, Una O'Connor, Marjorie Gateson, Akim Tamiroff.

Credits:  From the story by Edgar Selwyn. Screenplay: John Lee Mahin. Producer: Hunt Stromberg. Director: Clarence Brown. Camera: George Folsey. Costumes: Adrian. Editor: Robert J. Kern.

Plot Summary: Joan Crawford is at her most glamorous (a different outfit and hairdo in each scene!) in the romantic melodrama Chained. Crawford plays Diane Lovering, the mistress of prominent Manhattan businessman Richard Field (Otto Kruger). Though she really isn't in love with him, she feels obligated to marry him when he divorces his wife (Margaret Gateson) for Diane's sake. By the time the divorce is final, Diane has fallen for wealthy South American rancher Mike Bradley (Clark Gable), but, out of loyalty to Field, she abruptly cuts off her relationship with Mike, who does his best to hide his pain. It looks as though both Diane and Mike will continue to suffer stoically until the plot is resolved by the understanding and remarkably generous Field. Clarence Brown's glossy direction helps to make this star vehicle seem more important than it really is. ~ Hal Erickson, All Movie Guide

Total Gross:  $1,988,000 ($732,000 profit) (Eddie Mannix Ledger)

Notes:  

•  Initially titled "Sacred and Profane Love," which was changed because of Code considerations. (AFI)

•  Before Clark Gable signed on, Preston Foster was initially announced as Joan's co-star. (AFI)

•  The first of eight films Joan made with cinematographer George Folsey. (TCM)

•  On the set, Joan met her father Thomas LeSueur for the first and last time. (TCM)

•  In production from late May to 7 July 1934. (AFI)

American Film Institute page

IMDb page

TCM page

Wikipedia page

September 1, 1934

"Chained," which has as its leading lights Joan Crawford and Clark Gable, is a handsome production, with fine views of steamship travel and others of ranch life in South America. Miss Crawford adds to the general attractiveness of the scenes of this Capitol offering by an unusually extensive wardrobe and a variety of changes in her coiffure. But, when it comes to weighing the merits of the story, it must be said that it is just another suspenseless triangle.

So long as Miss Crawford and Mr. Gable are in a picture, it is as inevitable as the coming of night that the characters they impersonate will not be disappointing in the end. The only real surprise in this tale is concerned with the manner in which the producers are going to get rid of Miss Crawford's screen husband, Otto Kruger. And although this is managed in course of time, little can be said in favor of the logic in the somewhat abrupt turn of events.

Richard Field (Mr. Kruger), a fabulously wealthy steamship owner, is desperately in love with Diane Lovering. It happens, however, that he is married, and his wife refuses at the time to sue for a divorce. For some reason or other, Diane goes on a voyage to Buenos Aires and on the vessel she encounters Mike Bradley. If it is not a case of love at first sight, partly because Diane is still loyal to Field, it soon develops into a passionate romance. Eventually the time comes when Diane has to return to New York and, to complicate matters, Field's wife has obtained a divorce, leaving him free to marry Diane. With a sigh of gratitude, Diane becomes Mrs. Field and she lives in luxury. But the spectator knows that it is only a question of a few scenes before Bradley will turn up in New York and Mr. Field is going to be the victim of another divorce action. He is, however, a kindly soul who, being twenty years older than Bradley, apparently thinks that it is only natural that youth will be served.

Miss Crawford gives a facile performance and Mr. Gable is as ingratiating as ever. Mr. Kruger makes the most of his scenes and Stuart Erwin struggles with some absurdly feeble comedy.

On the Capitol stage the performers include Phil Spitalny's "musical ladies," the Chester Hale dancers, Eleanor Powell, Sheila Barrett, Lucille Page and Vivien Fay.

Richard Watts, Jr., in the New York Herald Tribune (1934):

May I say that although I expect the film to make a million dollars for its producers, it seemed to me just an earnest camera treatment of a snappy serial in one of the dressier sex magazines.... Since the picture didn't even attempt to go in for credibility, no one should blame Miss Crawford or Mr. Gable for failing to give real portrayals to their romantic roles. The two stars, who certainly know their business, wisely decide to pass their time tossing charm and personality all over the place, which is obviously what the film requires for audience appeal.

Howard Mandelbaum in Bright Lights Film Journal (1997):

Watching Chained is like flipping through a 1934 issue of Vogue. Perhaps "flip" is the wrong word, since it is directed by the sluggish Clarence Brown. The film's dramatic flow is constantly interrupted by self-conscious entrances whose sole purpose is to parade startling fashions. Also overpowering are Cedric Gibbons' gleaming white sets, which are too sleek for habitation. Whenever Chained gets bogged down in empty talk and false nobility, a battery of eye-popping Crawford close-ups are inserted. Those sculptural facial planes, when magnified, are meant to numb us into submission.

Stephanie Jones (February 2023)

Rating: of 5

There are staid sherry-flip people (remember old Kringelein's order in Grand Hotel?), and there are dashing daiquiri people.

In Chained, rancher Mike (Clark Gable) first tries to add a little "oomph" into Joan's quiet shipboard life by ordering her a daiquiri instead of the 6pm sherry flip she's been nursing in honor of her older married lover back home in NYC. Said older lover---wealthy ship magnate Richard Field (Otto Kruger)---has a "selfish" wife who won't divorce him, and so he's sent his longtime girlfriend Diane Lovering (Joan) on a lengthy cruise to Buenos Aires, ostensibly to think over her willing decision to remain with him (though more likely part of a continuing bid for her affections).

Diane's daily 6pm shipboard reverie over her sherry flip and desire to go to bed early are quickly overturned by Mike's exuberance and humor. Aside from the differing drink preferences, there's also the pretentious way that Richard constantly pronounces Diane's name---he says "Dionne," whereas Mike jokingly calls her "Dinah" (in honor of a little black doll he said he had when he was a baby!). Mike's easy-going nonsense soon jolts Diane out of her stuck-relationship melancholy. The next morning, both his physical and his goofy behavior in the ship's pool (including playing with a couple of boys, one a very young Mickey Rooney) further break down her defenses. (Joan, the person and not just the character, is obviously cracking up during the pool scene; I've seen her "acting-laugh" in many movies, but not actually laughing like this.) Diane and Mike clearly get along well, both mentally and physically, which is also on display in their later funny power-walk around the ship's deck: Stealing snacks and ping-pong balls, and acting weird to get rid of a couple of spinsters who seek to form a walking team with them!

Once at their Buenos Aires ship destination, Mike finds Diane at her hotel and takes her to his ranch, where again their down-to-earth connection and comfortableness with each other is on display: Joan's Diane eats with gusto and, after the meal, loosens her belt with gusto, just like the men do. Her former crimped, correct lifestyle as a kept city woman has disappeared.

Unfortunately, despite her newfound love for Mike, Diane's honor compels her to return to NYC to tell her married lover goodbye in person. Richard has always acted honorably in the film, but... He's a sherry-flip kind of guy. And we viewers by this point, after seeing the chemistry between Mike and Diane, definitely want daiquiris!

Director Clarence Brown made 5 films with Joan: Possessed ('31), Letty Lynton ('32), Sadie McKee ('34), Chained, and Gorgeous Hussy ('36). The first two border on great, the next two (including this one) are good solid entertainment, and the last is a mediocre hodge-podge. Joan later said that Brown was one of the four directors (along with Goulding, Cukor, Curtiz) who had most helped or influenced her. I'm trying to see said influence in Chained---was it that Brown encouraged her to show her own loose self in the pool and shipboard walking scenes? Did he discourage her late-20s/early-30s mildly annoying early facial tics (biting her lip, sucking in her cheeks) in favor of a more still, but more expressive, face and gaze while emoting? Whatever he did for her psychologically and acting-wise, he also accomplished for her technically: In Chained, as in the same-year's Sadie, Joan is shot with the utmost care (and in the utmost of beautiful fashions).

But it's not the fashions that propel either Sadie or Chained in '34---Joan's acting is also noticeably deeper, despite the so-called "frivolous" plots (and clothing). But why is a plot like that in Chained called "frivolous"? No, nothing much happens, action-wise, in the film. But there's quite a bit going on psychologically. The actual emotions portrayed by Kruger, Gable, and Crawford are decidedly NOT "frivolous"---this is serious, real, life-changing stuff! Kruger's Richard is more of a Stoic (perhaps appropriate for his character's age and position), but Mike and Diane are younger people attracted to each other both mentally and physically, and their characters' excitement when first encountering each other and pain when forced to part is palpable and moving. As is Diane's guilt and struggle at the choices she's forced to make.

The rich, emotionally honest acting (whether goofing off or expressing sincere affection) of both Crawford and Gable enhances the plot and writing to something far greater than itself. "Auteur theory" be damned: The meat-and-potatoes of Chained, and the primary reason it's watchable today (sans any particular cleverness in either writing or shots), is the timeless dashing daiquiri-ism of Crawford and Gable.

Tom C. (January 2023)

Rating:  -1/2 of 5

Chained (1934) is another 1930s Joan love-triangle picture. In a twist, there is not one but two triangles: It's a love rhombus!
 

Initially, Diane, her lover and shipping magnate Richard, and Richard's wife Louise, form a triangle. When the latter refuses a divorce, Diane heads off on a long cruise. There she meets Mike, and romance ensues on the high seas, forming another triangle with Richard, who remained in NYC.

Now, let’s connect the actors with the characters and see if we can guess who walks off arm-in-arm at the end. Richard = Otto Kruger. Louise = Marjorie Gateson. Mike = Clark Gable. Diane = Joan Crawford. If you've seen even one movie, you know who will be the final pair standing in this connubial contest!

OK, so Chained is obvious. But, it still manages to entertain.

First, Joan and Clark are great together, as always, especially in the swimming pool and power- walking-the-deck scenes. Their later love scenes are poignant.

Second, Joan shows off a myriad of Adrian gowns. She's at the peak of her talkie loveliness in Chained.

Third, the cast supporting the two stars are very enjoyable. Most notable among these is Otto Kruger, in a role that would seem impossible to pull off without overacting. You feel his inner turmoil and the true love he has for Diane despite their 20+ year age gap. The scene in which Mike interrupts their breakfast and Richard remains unfailingly civil despite the dawning realization that Diane and Mike are in love with each other is masterful. (Kruger had a long career, culminating in the JC movie/pilot Della, 1965.)

I also like Stuart Erwin's character, Johnnie, Mike's business partner. He's annoying, but not overly so. The romantic goings-on get pretty heavy in places and Erwin's there for comic relief. Notable bit parts include pre-Andy Hardy Mickey Rooney (young boy in pool), Una O'Connor (Diane's maid), and Francis X. Bushman Jr. (Joan's leading man in the 1927 silent The Understanding Heart; here, a salesman in a sporting-goods store).

Can't watch Chained without recalling that during its filming was the only time Joan met her biological father, Thomas LeSueur, who stopped by the set. Mr. LeSueur died 4 years after this movie was made.

Chained (1934) is all empty calories. It's a cinematic Twinkie! But like the famous confection, it's a quick, sweet, delicious treat.

Michael Lia  (August 2010)

Rating:   of 5

This is a really sweet movie and MGM has all the gloss intact, with many layers of fabric and moonlight with fresh sea air. The stars, Joan Crawford and Clark Gable, are completely satisfied with each other; it does not matter if there is a script on hand (no one cared about the script!) They are totally ingratiating.

This film, directed by the underrated Clarence Brown, guided the stars and really just filmed an expose of their affection for each other and their physical and spiritual chemistry.

They are at their peak in beauty and being, and that is all one has to look at, as well as the happiness they radiate. The scene where they are walking around the deck should be used in every film retrospective because it is charming. Audiences of the time must have loved the on-board pool scene -- your favorite stars in their bathing suits!  I would imagine this would have been a fun movie set to be on as well.

I may not pick this film off the shelf first, but when I do watch it I am left with a mild content feeling, like sipping one vodka on the rocks -- ahhhhh, my smile will remain fixed on my face and no sea sickness!

Mr. Mayer, the producer (Hunt Stromberg The Women) and the writers, along with our pal Adrian, really did keep the focus on the stars; while they are supported by some great reliable actors, no one comes close to taking any camera time away from Miss Crawford and Mr. Gable. It is just a happy night at the movies with your two favorite stars. They provide a natural high.

Stuart Erwin, a wonderful character actor, does come close with his bits of comedy, but even he is unnecessary in the final reel, though I always like having him around.

Otto Kruger, also very competent and professional, played his role for the stars and did not mind giving them the screen and the script. His wife, played by Marjorie Gateson, is there with some strong characterization, but her role too is retired. I do like her voice and tone when she was on the screen, however.

I have to mention Una O’Connor; she is much understated, but she does get to flash a few glances at the “goings on,” and Miss Crawford was lucky to add her to her roster of character actors she got to appear with.

George Folsey, the cameraman, kept the focus on Miss Crawford’s face and how we thank him for that; he was truly one of the artists working in the MGM factory.

When you are in the carefree mood for a happy love triangle (yes there is such a thing), see this film and you will have a good night 's sleep.

Jon Denson  (November 2009)

Rating: -1/2 of 5

Forget the plot, as it's the typical 1930s love triangle. You've seen it all before, probably, but Clarence Brown adds his usual sure touch, and the plot unfolds satisfyingly.

Crawford is at her most beautiful and glamorous in the role of Diane Lovering. Each scene is like part of a fashion show, with Crawford modeling the latest and greatest of 1934 fashions by Adrian. She is given the full MGM star treatment here, a la Garbo or Shearer. It was said that this was the film in which the cinematographer, and Joan, learned of the lighting which produced what we recognize now as the Joan Crawford face. The viewer can certainly tell in the stunning closeups.

Gable is again playing dashing, robust, virile, and has plenty of clever dialog. It's not a standout role for him, but Crawford and Gable always create plenty of sexual chemistry to keep the viewer interested.

Overall, CHAINED is an entertaining film, thanks to gorgeous art deco sets, costumes, fine performances by the entire cast, and the usual Gable-Crawford chemistry. The big stars, sex, and glamour manage to carry a fairly routine script.