The Stronger Sex

Colin Clive - Warren Barrington
Adrianne Allen - Mary Thorpe
Gordon Harker - Parker
Martin Lewis - John Brent
Renee Clama - Joan Merivale
Elsa Lanchester - Thompson

The Stronger Sex (1931) was scripted and directed by Gareth Gundrey for Gainsborough Pictures from a scenario by Angus MacPhail upon the original stage play by John Valentine.

The film opens on Mary Thorpe (Adrienne Allen), a rich woman and Staffordshire colliery-owner, and Warren Barrington (Colin Clive), a wastrel intent on making the best he can to ease his considerable debts. John Brent (Martin Lewis), Mary’s business partner and long-standing if secret admirer. Mary by chance overhears an intimate conversation between Warren and Joan Merrivale (Renee Clam), revealed as his mistress, to whom he confides that Mary is 'the trusting sort', easily deceived, and hardly likely to prevent their continued affair. Albeit greatly disillusioned, Mary decides to continue with the wedding. When the lucky mascot falls off their car the omens bode ill for the future.

On honeymoon in France, accompanied by his valet, Parker (Gordon Harker), and her maid, Thompson (Elsa Lanchester), things go from bad to worse. Though Mary ensures she and her husband are in separate rooms and locks the adjoining door, Parker acquires the key and it to Warren. Warren slips into Mary's bedroom and wants to make love to his wife. Mary repels his advances and reveals she knows his true motive for marriage. Returning to England, it soon becomes clear Mary and Warren have finally settled upon leading separate lives. But when Warren's lover, Joan, rings him immediately in an attempt to arrange a tryst, she is surprised to learn he has terminated their affair. On reflection, he bitterly regrets his 'madness' in France and very much wants to make amends to his. Despite his best efforts and now genuine declaration of love, however, Mary has decided to get a divorce.

Sensing that his wife and her business partner are growing closer, Warren starts to lose interest in his work and fails to order a new load of pit props. No sooner does he summon up the courage to confront John about the blossoming relationship than there is a cave-in down the mine. The emergency services are rushed into action and descend to retrieve the dead or injured as well as rescue survivors if possible. It is the first accident at that mine in twenty years and Warren, who feels responsible for the tragedy, joins the rescue team. Although all the miners are eventually accounted for, Warren becomes lost in a shaft. Not only is there the danger of gas but a new fall soon traps him. John goes to the rescue and breaks through to make contact.

With just one respirator between the two men, a hard decision must be made. They toss a coin for the respirator and Warren deceives John about the winning call. Thinking of Mary, Warren proceeds to knock John out, put the respirator and over his comrade's face, and nobly sacrifices his own life by deliberately descending deeper into the shaft to face certain death. At the mine head, expectant crowds gather while Mary is alone die office. As the last cage comes up, she emerges to see John the surface safe and sound.

Gareth Gundrey exploited the films emotive potential to the full for the screen. He was well served by a storyline that contrived many melodramatic excesses; highlighting both love scorned and long pressed, deceit and infidelity, marital rape, heartfelt contrition, retribution, sacrificial death and final restitution.
Extract© The Unknown 1930s by Jeffrey Richards.