Evelyn Prentice (1934)

While William Powell and Myrna Loy are best remembered for their sparkling chemistry in comedies like The Thin Man series, Evelyn Prentice (1934) offers a fascinating early glimpse of the duo in a markedly different light.

Released just months after their breakout as Nick and Nora Charles, this tense domestic melodrama plunges into the shadows of marital estrangement, moral failure, and the high-stakes drama of a courtroom showdown.

Though lesser known, Evelyn Prentice is a taut, moody film that showcases the pair’s dramatic range and remains a compelling entry in the annals of 1930s Hollywood.

Plot Overview

Set among the elegant drawing rooms and shadowy courtrooms of New York’s upper crust, the film follows respected attorney John Prentice (William Powell), whose long hours and emotional distance leave his beautiful wife Evelyn (Myrna Loy) feeling lonely and neglected.

When Evelyn becomes entangled in a flirtation with dashing poet Lawrence Kennard (Harvey Stephens), she finds herself dangerously close to an affair—not out of passion, but from a hunger for emotional connection.

When Kennard turns out to be a manipulative cad who attempts blackmail, Evelyn resists—but soon finds herself at the centre of a murder. The dramatic twist comes when her husband, unaware of his wife’s involvement, agrees to defend the woman accused of the crime in a highly publicised trial. What follows is a courtroom drama laced with suspense, emotional tension, and the looming possibility that Evelyn’s secrets will be exposed.

Powell and Loy in Dramatic Mode

For audiences familiar with Powell and Loy’s witty repartee and light-hearted interplay, Evelyn Prentice may come as a surprise. Here, their performances are understated, measured, and tinged with a deep sadness. Powell is superb as the distracted husband who is ultimately forced to re-examine his priorities, delivering a performance full of quiet guilt and moral gravity. Myrna Loy, often cast as the charming socialite, is given a more emotionally layered role—one that allows her to explore vulnerability, shame, and resilience. Her performance as Evelyn is deeply sympathetic, portraying a woman caught between societal expectations and her emotional needs.

The two leads don’t share as much screen time as in their comedies, but their scenes together—particularly the final confrontation—are powerful, aching with a sense of real emotional stakes.

Supporting Cast and Highlights

Una Merkel provides light relief as Evelyn’s confidante, her wisecracks a welcome respite from the film’s heavy themes. Rosalind Russell, in one of her earliest film roles, appears as a socialite, and though her role is minor, her screen presence is already evident.

Harvey Stephens is appropriately slimy as Kennard, the poet whose suave exterior masks a predatory nature. His scenes with Loy are charged with discomfort, adding a sinister undercurrent that feels ahead of its time.

Direction, Cinematography, and Themes

Director William K. Howard keeps the tone brooding and restrained, using shadowy lighting and lavish Art Deco interiors to enhance the atmosphere of repression and deceit. The film also benefits from the stylish cinematography of Charles Rosher, who bathes the scenes in a moody chiaroscuro that anticipates the noir style that would flourish in the following decade.

Though often categorized as a melodrama, Evelyn Prentice also serves as a subtle critique of the era’s gender roles. Evelyn’s moral transgression is treated with surprising nuance, considering the Hays Code was just beginning to tighten its grip. Rather than condemning her outright, the film explores the emotional isolation that can breed such behavior, laying some of the blame at the feet of a system that kept women idle and men emotionally aloof.

The courtroom climax, though a bit tidy, is undeniably gripping, culminating in a confession that feels both dramatic and cathartic. The resolution hints at reconciliation and forgiveness, but not without a clear sense that trust must be rebuilt.

Conclusion

Evelyn Prentice stands as a mature, intelligent film that diverges sharply from the breezy comedies for which Powell and Loy are best known. It showcases their dramatic capabilities and treats its audience with a rare degree of emotional seriousness. Though not as iconic as The Thin Man, it deserves recognition as a stylish and psychologically astute drama of marital disconnection and moral reckoning.

Rating:

A moody, elegant melodrama elevated by strong performances and sophisticated themes—proof that Powell and Loy could shine just as brightly in the shadows as they did in the spotlight.