I Loved a Woman (1933)

80 mins | Drama | 23 September 1933

Director:

Alfred E. Green

Cinematographer:

James Van Trees

Editor:

Herbert Levy

Production Designer:

Robert M. Haas

Production Company:

First National Pictures, Inc.
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HISTORY

The film's working title was Red Meat ...

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The film's working title was Red Meat

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Film Daily
21 Sep 1933
p. 6
International Photographer
Jul 1933
p. 39
Motion Picture Daily
22 Sep 1933
p. 2
Motion Picture Herald
8 Jul 1933
p. 20
Motion Picture Herald
16 Sep 1933
p. 38
New York Times
22 Sep 1933
p. 14
Variety
26 Sep 1933
p. 15
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
2d asst dir
PRODUCER
PHOTOGRAPHY
Louis Jennings
2d cam
ART DIRECTOR
Robert M. Haas
Art dir
FILM EDITOR
Herbert Levy
Film ed
SET DECORATORS
Set dresser
Ed Edwards
Asst props
COSTUMES
Gowns
Men's ward
Women's ward
MUSIC
Vitaphone Orch cond
SOUND
Francis Scheid
Asst to mixer
MAKEUP
Makeup
PRODUCTION MISC
Unit mgr
Chief elec
Script supv
Still photog
SOURCES
LITERARY
Based on the novel Red Meat by David Karsner (publication undetermined).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Title:
Red Meat
Release Date:
23 September 1933
Production Date:

Copyright Info
Claimant
Date
Copyright Number
First National Pictures, Inc.
3 October 1933
LP4147
Physical Properties:
Sound
Black and White
Duration(in mins):
80
Country:
United States
SYNOPSIS

John Hayden, the artistically-minded son of a Chicago meatpacker, takes over the family business when his father dies, then marries Martha Lane, the daughter of his father's biggest rival. Martha turns out to be a selfish, ambitious woman, and John finds the kinship his marriage lacks with Laura McDonald, a beautiful opera singer. Martha refuses to divorce John, so he continues his affair with Laura, whose own career soars as John becomes one of the most influential packers in the world. During the Spanish-American War, however, John delivers tainted beef to the army and is charged with manslaughter by Theodore Roosevelt. When Roosevelt becomes President, John is tried and aquitted. Martha decides to expose John and Laura, but instead of finding John in Laura's apartment, Martha discovers Laura with another man. John is unable to accept the fact that Laura has had other lovers and leaves her, although he still loves her deeply. He focuses his energy on his work, but during World War I, he overextends himself, faces bankruptcy, and is indicted for fraud. A broken man, he flees to Greece, where he once studied art, and manages to escape criminal charges. Laura joins him there, proving her lasting ...

More Less

John Hayden, the artistically-minded son of a Chicago meatpacker, takes over the family business when his father dies, then marries Martha Lane, the daughter of his father's biggest rival. Martha turns out to be a selfish, ambitious woman, and John finds the kinship his marriage lacks with Laura McDonald, a beautiful opera singer. Martha refuses to divorce John, so he continues his affair with Laura, whose own career soars as John becomes one of the most influential packers in the world. During the Spanish-American War, however, John delivers tainted beef to the army and is charged with manslaughter by Theodore Roosevelt. When Roosevelt becomes President, John is tried and aquitted. Martha decides to expose John and Laura, but instead of finding John in Laura's apartment, Martha discovers Laura with another man. John is unable to accept the fact that Laura has had other lovers and leaves her, although he still loves her deeply. He focuses his energy on his work, but during World War I, he overextends himself, faces bankruptcy, and is indicted for fraud. A broken man, he flees to Greece, where he once studied art, and manages to escape criminal charges. Laura joins him there, proving her lasting loyalty.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.