Modeling furs has given our heroine Cookie a taste for them, so she's determined to marry a rich man. Scheduled to meet a male model aboard a yacht, she meets the yacht's rich owner Dick ... See full summary »
M'liss Smith, the wildcat daughter of Washoe Smith, lives a lively life in the small town founded by her father, a broken miner. However she is tamed under the influence of a handsome ... See full summary »
Mary Stevens (Kay Francis) and her old friend Don Andrews (Lyle Talbot) find themselves graduating from medical school at the same time. They decide to set up their respective medical ... See full summary »
Marcia Prentiss, a New England spinster, is annoyed when reaching her summer home to find that her niece, Betsy Ann, is there after being told to remain in school, but is there because she ... See full summary »
French country girl Madelon falls for artist Larry, who leaves her after she becomes pregnant. She finds help from jewel thief Carlo, but he commits suicide when the police try to arrest him. Madelon is arrested and receives a ten year term in prison for assisting him in his profession. To support her son, who does not know that she's been in prison, she becomes a street walker, allowing him to attend medical school. Written by
Stephan Eichenberg <email@example.com>
Before writer Charles MacArthur was assigned to the project, he saw a preliminary script and protested to MGM studio head Irving Thalberg that the play "The Lullaby" was hopelessly old-fashioned and wouldn't be a good film debut for his wife, Helen Hayes. Thalberg heard him out and told him, "You don't like it - you're a writer. You fix it," and hired MacArthur to do the script. See more »
Very MGM mother-love early-talkie stuff, which one suspects Norma Shearer turned down. Charles MacArthur's screenplay at least makes its points swiftly and with a minimum of embarrassment, but the direction makes rather too much of having The First Lady of the American Theatre in every scene. Helen's key-lighting is just so, her dithering and pauses are all fluttery excess, and the makeup (innocent girl to demimonde-cocotte to hag) does half the acting for her. Not that she's an incompetent film actress -- she's quite good, and even sexy, in the following year's "A Farewell to Arms." It's just that this is the bathetic "Madame X"/"Stella Dallas" sort of nonsense that sets young actresses dreaming of Oscars before they even face the camera. In a very American bunch of supporting Parisians, Marie Prevost is sympathetic and welcome, Jean Hersholt is not the noble bore he often was, and Lewis Stone gets to be a most un-Judge Hardy-like count with a secret.
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