Lil Dagover stars with Walter Huston and Warren William in The Woman from Monte Carlo, a 1932 film - actually a remake of a silent film and also a French film starring Annabella.The story concerns a woman, Lottie (Dagover) whose husband (Huston) commands a ship and is away for long periods of time. When the ship arrives in port, she is escorted to the ship by his lieutenant D'Artelles (Warren William) who is in love with her.Lottie is devastated when her husband tells her that because of danger, she cannot stay on the ship overnight and must go home. When d'Artelles informs her of this, she is very upset and talks about how she can never see him, and is alone, has to live like a nun...The ship is torpedoed while she is still with d'Artelles, and though his associate is able to get her home, the fact that she was there becomes critical when her husband is arrested - the boat sinks, and most of the crew is lost. He is accused of bringing the ship too near the enemy; however, the signal he received was the code of a friendly ship. But the only person who knows this, besides Lottie, is a real snake who wants something from Lottie in return for his testimony.It's a shame Dagover only made one film in the U.S., because of all the foreign imports brought over to rival Garbo and Dietrich, she was perhaps the strongest, certainly stronger than Anna Sten and others. She was an excellent actress, her appearance was somewhat similar to Garbo's, and she had great legs. Her accent was a little thick, but in time that would have lessened.She was a huge star in Germany during the Wehrmacht era and was one of Hitler's favorite actresses. She continued to work under the Hitler regime but the films she did were apolitical, musicals and comedies. She also entertained the troops. She worked in Germany until retiring in 1976; she died at the age of 92. A six-decade career, and we got to see her in one movie.Warren William, as others have said, was miscast, and Huston was on the stiff side. That, I think, was how the role was written.All in all, nothing special but it's a good opportunity -- and probably your only one -- to see Lil Dagover.

Lil Dagover is a ship captain's wife, half is age, and a reputation to boot. Of course, she wants to be a faithful wife, but her spouse (an excellent Walter Huston) is too busy being called away on naval business. She's the subject of lustful unwanted advances from sleazy naval officer John Wray, but Huston's right hand man (Warren William) rescues her from him on several occasions. Coincidently, World War I is declared on the night of a shipboard party and a drunken Dagover finds a major hangover when she is left behind when the ship sets off for battle. This leads to a melodramatic plot twist where the ship is torpedoed and Huston is put on court martial for claiming the torpedoing ship had sent friendly secret codes. Will wifey and injured best pal William be able to save him from career suicide without ruining her marriage or further besmirching her reputation? Not if the jealous Wray has his way! Fast-moving romantic melodrama has enough sexual innuendo to fill a dozen pre-code films but suffers from the presence of a rather ineffectual leading lady who appears to be slightly mannish. There's a nice party sequence where Huston ends up in the arms of amorous portly socialite Maude Eburne and a twist in court that is downright over-the-top. It also features a bittersweet downer of an ending that leaves a lot of unanswered questions, but the presence of the ultra talented Walter Huston rises this above mediocrity.

Too bad Lil Dagover made only one Hollywood movie, but at least it's not lost, and English- speaking audiences get a chance to savor her without the distraction of subtitles.There is a lot of plot ellipsis in this story about a lady with a past trying to settle into respectability as the wife of a French naval officer (Walter Huston). Unfortunately, the husband is at sea most of the time and when his ship finally comes into port and she arrives on board for a welcoming party World War One suddenly begins, the party is called off and the ship is torpedoed. Romantic rivalry (involving Warren William as an officer subordinate to Huston) and a threatening figure from her past (John Wray) are also mixed up in the mayhem. However, the film is mostly about Lil. Her charm, her poise, her jewels, her costumes, her legs, her profile, her ivory skin, her raven hair, her captivating smile—all on display in generous close-ups. If this all seems reminiscent of Dietrich in the von Sternberg films, this exposure of Dagover was probably intended by the executives at First National who imported her, probably as their version of Dietrich or possibly Garbo, whose manner resembles hers. Her rather thick German accent is difficult to understand at times, and creates problems in some scenes, but she hits all of the required emotional notes, especially when playing the frustration of an abandoned wife.The final fadeout is particularly striking.

Sporting a plot with gaping holes (one of them large enough to accommodate a battleship), The Woman from Monte Carlo (1931) is more than somewhat disappointing. We waited years to catch up this one. Now it's finally available; but although it has some great moments – principally contributed by John Wray and occasionally by Lil Dagover – the preposterous plot and peculiarly lethargic performance by Warren William undermine its appeal. Nonetheless, although occasionally ill-treated by photographer Ernest Haller, Dagover works hard to build up credibility. Alas, her efforts are sabotaged, largely by Warren William but also by Walter Huston. Admittedly, the admiral is supposed to be a dull old stick, but in my book that doesn't mean he has no charisma whatever. (Incidentally, the studio's credits are wrong. Wray is the ship's captain, Huston is an admiral, and William plays an officer called "D'Artelle"). Michael Curtiz's visual flair is also under pressure from the talky script, the predictable plot and its lifeless characters. All in all, The Woman from Monte Carlo rates as a must-see for Lil Dagover (and John Wray) fans, but little more than a melodramatic curiosity for everyone else.