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Susan, an orphan, lives the life of Cinderella with rustic relatives. She escapes one stormy night when the fiance her relatives chose tries to force his attentions. Rodney, an architecht, is the prince who rescues her, but he has to take a trip and the wicked relatives catch up with her again. Her next rescuer is a tatooed lady in a circus who can't save her from the circus manager. Rodney shows up and dismisses her as a fallen woman. Susan moves up in the world to the penthouse of a politician who can offer a construction contract to Rodney. Rodney says no and flees to the jungle with Susan in pursuit. Written by
Dale O'Connor <firstname.lastname@example.org>
When MGM chief Irving Thalberg found that three secretaries in his outer office remembered the 1917 David Graham Phillips novel well even though it had been missing from bookstores for over ten years, he decided to purchase the screen rights as a vehicle for Garbo. See more »
Garbo/Gable chemistry wasted on weak romantic plot...
GRETA GARBO fans will undoubtedly forgive the screenplay which has Greta and CLARK GABLE romantically involved in an on again/off again relationship that is the basis for the whole movie. And, of course, Garbo's favorite cinematographer, William Daniels, is behind the camera making sure that she gets her fair share of lush close-ups.
It starts out promisingly enough as a Gothic melodrama with Garbo fleeing the advances of a drunken fiancé ALAN HALE and rushing out into the storm. She seeks shelter in a barn but is discovered by CLARK GABLE who promptly takes a shine to her and invites her to take shelter under his roof. The opening scenes with Garbo and Gable have an innocent charm that makes them delightful to watch, with Gable giving a more natural performance than Garbo who already has a bag of transparent acting tricks.
The plot thickens when Susan Lenox is forced to flee Gable's residence when her strict father and fiancé show up to bring her home. She ends up taking refuge on a circus train and ends up being "kept" by one of the managers. When she's reunited with Gable, it begins a series of misunderstandings. Garbo plays her role like the real diva she was, even pronouncing Gable's name--"Rodney"--in a melodramatic way.
It's strictly downhill into pulp romance territory for the rest of the way. It's Gable who gives one of his most likable performances and sustains interest in the story's development--not Garbo.
Summing up: Only for die-hard Garbo fans. Noteworthy for a very fine beginning which soon lapses into mediocrity.
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