A poor but honest and hardworking waitress from way across the tracks meets and falls in love with a college student from the upper-stuffy class, but the Mama of the intended objects to the... See full summary »
A poor but honest and hardworking waitress from way across the tracks meets and falls in love with a college student from the upper-stuffy class, but the Mama of the intended objects to the romance. Her objections even lead her to having the waitress framed and sent to a prison work-farm for three months. Upon her release, the waitress finds instant stardom in the show business...and the social class she was lacking. Big Mama withdraws her objections. Written by
Les Adams <firstname.lastname@example.org>
Even the original movie in 1932 had sequences deleted in Columbia's attempt to gain a seal of approval from the Hays office. Variety noted, in their revue of 5 April 1932, that there were sections "that do not blend into the story smoothly, sequences that hang in the air lacking background and significance as though passages depending on them had been deleted." See more »
When Kitty and David are parked next to the golf course, the windshield on his car is struck with a ball, causing it to crack on Kitty's side. In the next scene where they are parked and his mother and the judge pull abreast of them, the windshield is intact. See more »
[tries to grab Kitty's hand, but she pushes it away]
Say Kit, won't you go to the show with me tonight?
Well, you can't do much with a crowd around.
That's why I like crowds.
[Fred calls out an order from the kitchen, and Kitty walks away.]
But Kit, there's a lot of things I want to tell you.
Only one, Toby. And the answer is "no."
Don't you know any three-letter words?
[...] See more »
TCM recently featured Barbara Stanwyck as their star of the month, giving them an opportunity to show a good number of the numerous films she pumped out very early in her career with Warner Brothers and Columbia. It is fascinating to watch several movies with the same star immediately one after another, because this way you get to determine how good an actor really is: do they become tiresome, or do they have staying power?
Barbara Stanwyck was the real thing. Thanks to her understated skills, I found myself appreciating her more and more, the more films of hers I watched. By herself she could pull even the weakest script into something worth watching.
"Shopworn", a typical quicky, was one of the best from those early days. Her range of talent was immense, playing, within this one film, a poverty-stricken waif and a successful Broadway star, playing happy and sad, incensed and appreciative, kindly and outraged, always with a dignity and slight detachment that are wondrous to watch. Again, it is sometimes only by watching multiple films of hers in succession to these nuances start to really make themselves known.
This is a strong film, with a very good cast. Regis Toomey is very likable as Stanwyck's love interest, and Clara Blandick and Oscar Apfel, as Toomey's mother and her consort, are deliciously manipulative and evil. Zasu Pitts adds a little mild comedy to the proceedings, providing a nice contrast.
Look for some very brave and quite interesting camera angles and panning sequences; one particularly good shot was taken of Stanwyck reaching under her bed for a suitcase - the camera is at floor level, shooting the scene from under the bed! Very unique and perhaps a little experimental for the time.
I highly recommend this fast-paced little film; and highly recommend seeking out early Barbara Stanwyck gems like this!
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