Sophisticated comedy: a trio of money hungry women who all have sugar daddies who keep them in the lap of luxury, even as they drive the men crazy. Each woman represents a different ... See full summary »
When a cute Welsh terrier follows Bill Denny home, little does he know that all gangland has its eye on that dog. Who will be bumbling Bill's undoing - the gangsters, the cops, or his suspicious mother-in-law?
Millie Blake has a love affair that goes wrong, so Millie plays the field recklessly from that point on. When she finds out that one of the reckless players from her past has now cast his ... See full summary »
John Francis Dillon
Three sisters take their small inheritance and move from Kansas to California in search of rich husbands. To start with Pamela poses as a socialite and Moira and Elizabeth pretend to be her... See full summary »
Sophisticated comedy: a trio of money hungry women who all have sugar daddies who keep them in the lap of luxury, even as they drive the men crazy. Each woman represents a different personality type, from sensitive, to kind-hearted, to difficult and untrustworthy. Set in the age of jazz, the twenties come roaring back with immorality and in-fighting. Written by
Adapted from a Broadway play by Zoe Akins, "The Greeks Had a Word for It". Since it dealt with a group of modern-day courtesans, the title was on the Hays Office banned list. Therefore, the last word in the title was changed to "Them". The original Broadway production opened at the Sam H. Harris Theater on September 25, 1930 Theater and ran for 253 performances. See more »
Look, she doesn't have a man - you'd think she'd be afraid of catching cold.
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Though this story of three girls on the lookout for rich men inspired How to Marry a Millionaire, the gals in this pre-Code original hardly hold out for marriage! Sugar daddies will do as well as husbands, and even better in the case of one who prefers an illicit good time to a rich husband. Joan Blondell, as the good sport, doesn't have enough screen time but is quite effective when she does--the catfight in the beauty parlour, with its mudpacks and a hair-waving machine that looks like a giant squid, is a riot. Madge Evans is the sweet one who nevertheless forsakes her sweet boyfriend for wealthy Lowell Sherman's offer of musical training, which clearly includes some very intimate private tuition. Ina Claire is the wildly unscrupulous one, who cheats, steals, and tells outrageous lies to keep herself in champagne and chinchilla. The clothes are gorgeous--slinky evening gowns that look like lingerie--and the wisecracks are as sharp as the diamonds the girls crave (remember that this was the era of Gentlemen Prefer Blondes). A man, asking for the men's room, is told "It's the door that says Gentlemen--but don't let that stop you." When the two other girls meet Ina Claire returning on an ocean liner, one says, "Look, she doesn't have a man--you'd think she'd be afraid of catching cold." There's no plot to speak of, just a series of incidents, which gets a bit wearying, and it's bizarre that the other two keep reconciling with the treacherous, bitchy Ina Claire character. But for a frivolous, glamorous, unsentimental look at love and money, this is hard to beat.
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