Growing up in a poor working-class family, Laura decides not to marry the boy-next-door and instead accepts wealthy, older Will Brockton's invitation to move in with him. After falling in ... See full summary »
Hildy Johnson, newspaper reporter, is engaged to Peggy Grant and planning to move to New York for a higher paying advertising job. The court press room is full of lame reporters who invent ... See full summary »
Elyot and Sibyl are being married in a big church ceremony. Amanda and Victor are being married by a French Justice of the Peace. Both couples go to a hotel on the same day and are put in ... See full summary »
Dowdy Sylvia accepts her boss' marriage proposal, even though he only asked her to avoid marriage to another woman. As a wealthy wife, Sylvia changes from ugly duckling to uninhibited swan ... See full summary »
Hugh Carver is an athletic star and a freshman at Prescott College. He falls in love with Cynthia Day, a popular girl who loves to go to parties. He finds that it is impossible to please ... See full summary »
Henry B. Walthall
Lorry and Minnie are ex-hookers who leave prison, determined to find the good life with rich men. Along the way Lorry meets and falls in love with cotton barge owner Dan. She must choose ... See full summary »
Gregory La Cava
Naval commander Charles Sturm has made life miserable for his wife Diana due to his insane jealousy over every man she speaks to. His obsessive behavior soon drives her to the arms of a ... See full summary »
Hard-hitting news editor Jim Branch falls for high-society type Sharon Norwood but can't get to first base as he continually makes use of her knowledge of the rich and famous to try to ... See full summary »
Robert Z. Leonard
Growing up in a poor working-class family, Laura decides not to marry the boy-next-door and instead accepts wealthy, older Will Brockton's invitation to move in with him. After falling in love with young up-and-coming newsman Jack Madison she leaves Brockton to wait for Madison's return from a long assignment. She runs out of money and becomes desperate, returning again to Brockton who, upon learning of Madison's sudden arrival, tells Laura she must inform Madison of her living situation or he will. Written by
Doug Sederberg <email@example.com>
The original play opened in New York on 19 December 1909. See more »
When Constance Bennett visits Anita Page and has the child sat on her lap, the fur stole she is wearing drops off of her shoulder; it remains off of her shoulder in distance shots yet miraculously reappears in every close-up. See more »
The initial sequences of this film, and indeed a good portion of it otherwise, are arranged in such a way that truly evokes the environment of the time period, with the beginning shots capturing the squalorous destitution of the family home, and the amusing shot in particular of the family eating breakfast while the camera remains idle, focusing on their activity-- that's the type of stuff which I love. As others have stated; as the year implies; as I no doubt need to mention-- this is a Pre-Code film. Unlike films made later in this very same decade that have been rigorously codified and placed into the upper echelons of Golden Age fantasy and whimsy, this is one of those films that truly captures the gritty reality of the Great Depression, and which keeps all the trimmings in the process. What I find most interesting about this films is indeed the reality which they offer, which is something that goes to foreshadow the development of the sitcom; and indeed to watch a Pre-Code is exactly like to watch a modern sitcom (or at least one of the more classic sitcoms before that genre itself became overdone).
At any rate, this film in particular really caused me to question the cultural in the given period of time; Art, after all, is a habit which reflects the mindset and mores of a given place, and therefore I'm brought to wonder concerning how much women of 1931 could relate to those in this film. To what extent is the normal woman living in destitution, blessed perhaps with supreme feminine charm, faced with such conflicts as are portrayed in this film-- I mean of course in 1931. Surely what the overwhelming majority of these Pre-Code films leads me to understand is that showbusiness and all other methods in which the female body can be exploited for a profit are things which women of this time are flocking to, at the expense of what is held to be traditional morality. Though with Art being a lens into a period of time, as above mentioned, I continued throughout this film to wonder as to how widespread the morality-for-riches tradeoff occurred actually.
As far as a take-away message goes, this film in my opinion posits the existence of two classes-- one exuberantly rich, and one exorbitantly poor; conflict occurs, the film says, when people don't mind their class, and by this I mean that if the poor and destitute remained poor and destitute yet endured their struggle, they will find their due happiness in time. Similarly, if the rich abide by their own class, herein represented by Adolphe Menjou's character, then they too will find their due pleasure in life. Menjou always in my viewings perpetuates the same character: he is rich and sophisticated yet takes an interest in the exact type of woman that can never love him. Therefore, to betray your own class is akin to masochism: let the rich inhabit a romance with the rich, and the poor with the poor, for love cannot exist in any way befitting if these lines are crossed.
I have not at all provided a synopsis of this film, since it is well documented by others and on websites, yet I have not rated its quality: to that end, to wit, this is a wonderful Pre-Code film enshrouded in MGM's spectacular production films, with a visual sheen and gloss that is pleasing to the eye. I encourage all with an interest for this period, or any of the factors above mentioned, to view it.
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