I’d heard so much about THE STORY OF TEMPLE DRAKE – that it was so depraved and salacious it almost singlehandedly led to stricter enforcement of the Production Code – that it was almost a letdown when I first viewed it. I say almost because, knowing the era this adaptation of William Faulkner’s SANCTUARY was made, I understand how shocked audiences must have been. THE STORY OF TEMPLE DRAKE could be a TV Movie of the Week today, but in 1933 people couldn’t handle this level of lasciviousness.
Georgia-born Miriam Hopkins is outstanding as Southern belle Temple, though she does lay on the “sho’ nuffs” a little too thick at times. Temple, daughter of a prominent judge, is a wild child, a big tease to all the men in town. Solid, steadfast lawyer Stephen Benbow wants to marry her, but the self-centered Temple thinks he’s too dull, preferring to party all night. While speeding down a dirt road with the equally irresponsible Toddy Gowan on their way to a backwoods roadhouse, they get into an accident. The two are found by some moonshiners and their big city bootleg connection, the cold-blooded gangster Trigger, and taken to their gloomy Gothic hideout.
Temple is then raped in the barn by Trigger, who shoots her young hillbilly bodyguard Tommy. The girl is in shock, as Trigger lugs her along his sordid path, making their way to Miss Reba’s Place, where she’s forced into a life of prostitution. Moonshiner Lee Goodwin is arrested for Tommy’s death, and Benbow is appointed council, but he refuses to talk, fearing reprisal from Trigger. Lee’s common-law wife Ruby isn’t afraid to speak the truth though, and Benbow tracks down Trigger with a subpoena. To his shock, Benbow finds the missing Temple with him. The murderous Trigger reaches in his pocket for his gun, but Temple gets between them, telling Benbow she’s been with the gangster all along, willingly, acting as his alibi and secretly saving Benbow’s life.
Temple then tries to leave Trigger, but the vicious hood won’t let her. He’s about to lay another smackdown on her when she grabs his gat and shoots her tormentor. Returning to her hometown just in time for the trial, Temple’s father is outraged when Benbow plans to put his daughter on the stand, and now Temple faces a moral dilemma: tell the truth and suffer total disgrace for herself and her family name, or let an innocent man hang for a crime he didn’t commit…
Miriam gives one of her best performances as Temple, the party girl whose lifestyle leads her on the road to ruin. Hopkins doesn’t get the acclaim her contemporaries Bette Davis and Joan Crawford do, but her work in this and 30’s films like DR. JEKYLL AND MR. HYDE , TROUBLE IN PARADISE, DESIGN FOR LIVING, BECKY SHARP, and THESE THREE show what a talented actress she was. Jack LaRue (Trigger) was Hollywood’s most hissable gangster, and here he’s so repugnant and evil, with that ever-present cigarette dangling from his mouth, you can’t help but hate him. Florence Eldridge (wife of Fredric March) is really good as the hardened Ruby, as is Irving Pichel in the role of Lee. William Gargan plays Benbow as written – bland – and one can see why Temple isn’t interested. A plethora of Familiar Faces appear: Oscar Apfel , Louise Beavers, John Carradine (a courtroom extra), William Collier Jr (the wastrel Toddy), Jobyna Howland, Elizabeth Patterson, Sir Guy Standing (Judge Drake), Grady Sutton , and Kent Taylor.
Faulkner’s controversial novel had to be watered down, even in the Pre-Code era, by scriptwriter Oliver Garrett, and even then, the censors demanded cuts due to pressure from the newly formed Catholic Legion of Decency . The rape itself, as well as any mention of Temple being a prostitute, are only implied, but you’ll get the drift (onscreen murders seem to be okay, though!). DP Karl Struss had worked on F.W. Murnau’s silent classic SUNRISE (receiving an Oscar) and early talkies COQUETTE, DR. JEKYLL, and ISLAND OF LOST SOULS. His camerawork on THE STORY OF TEMPLE DRAKE was film noir before the term was ever coined.
Director Stephen Roberts handles the material well, cutting at times to the busybody townspeople talking about the scandalous Temple, and keeping the film moving at a brisk pace. Roberts had a long career in silent movies, mainly directing shorts, before being assigned to features. He died in 1936 after making only six more pictures. TEMPLE DRAKE may not have killed him, but it’s sinful reputation pretty much killed his career. The story was remade as SANCTUARY in 1961, but despite looser film restrictions it’s even more watered down than the original! I’d like to see a contemporary filmmaker(Quentin Tarantino? Martin Scorsese?) tackle the material, but for now, I’ll settle for the sleaziness of THE STORY OF TEMPLE DRAKE.