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Shopworn (1932)

 -  Drama | Romance  -  25 March 1932 (USA)
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Ratings: 6.5/10 from 364 users  
Reviews: 13 user | 5 critic

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 »


(as Nicholas Grinde)


(story), (dialogue), 1 more credit »
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Title: Shopworn (1932)

Shopworn (1932) on IMDb 6.5/10

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Complete credited cast:
Kitty Lane
David Livingston
Aunt Dot
Lucien Littlefield ...
Clara Blandick ...
Mrs. Helen Livingston
Robert Alden ...
Oscar Apfel ...
Judge Forbes
Maude Turner Gordon ...
Mrs. Thorne
Albert Conti ...
Andre Renoir
James Durkin ...
District Attorney (scenes deleted)


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 <>

Plot Summary | Add Synopsis


A SUPERB ARTISTE IN HER MOST GLAMOROUS ROLE...Barbara STANWYCK (original print ad - mostly caps) See more »


Drama | Romance


TV-G | See all certifications »




Release Date:

25 March 1932 (USA)  »

Also Known As:

Shopworn  »

Company Credits

Show detailed on  »

Technical Specs


| (re-edited)

Sound Mix:

(Western Electric System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Edwin Maxwell is in studio records/casting call lists for the role of "Bierbauer," but he did not appear or was not identifiable in the movie. In addition, a modern source lists Joan Standing and Dorothea Wolbert as cast members, but they were not seen in the movie either. 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 »


Kitty Lane: [waiting on David at the diner] ... How come *you* never annoyed me?
David Livingston: Well, I don't like to compete with the whole college.
Kitty Lane: If I owned this joint I'd bust ya in the nose for that.
David Livingston: [looking up from the book he has been studying] Yes, and if I were your brother instead of a customer here, I'd spank you. I'd like to finish this chapter.
Kitty Lane: Well, go ahead, finish it someplace else where they burn incense or something.
David Livingston: Alright, I will. I don't like this place anyhow. You may be hot, but the coffee's cold.
See more »


Featured in Barbara Stanwyck: Fire and Desire (1991) See more »


Bridal Chorus (Here Comes the Bride)
(1850) (uncredited)
from "Lohengrin"
Music by Richard Wagner
Hummed by Regis Toomey
See more »

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User Reviews

has its moments
19 January 2008 | by (United States) – See all my reviews

This fast-moving film features Barbara Stanwyck in her early period when she usually played a tough, lower-class dame with a hot temper who stands fast to her principles. This character is virtually identical to the ones she played in NIGHT NURSE, LADIES THEY TALK ABOUT and BABY FACE. Here she is a waitress who falls in love with a rather bland medical student (Regis Toomey) whose nasty and snobbish mother (an excellent and truly scary Clara Blandick) schemes with a corrupt judge (Oscar Apfel) to separate the young lovers by sending Stanwyck to one of those reformatories that pop up so frequently in films of this era. The ever-fluttery Zasu Pitts is on hand as Stanwyck's aunt - what a comedown from GREED.

In one scene Stanwyck, trying to memorize the dictionary as a means of self improvement, shows her suitor a list of words beginning with the letter "e" which she has written down. He reads them aloud, stops after "ejaculate," looks at her with some curiosity and says that even he would never use such a word. That moment immediately pigeonholes this film as pre-Code. The scene continues artfully with one-word exchanges all starting with the letter "e." Later, while Lucien Littlefeld is conversing about the Stanwyck-Toomey relationship with Oscar Apfel, a couple of lines are very clumsily overdubbed by other actors. Makes one wonder what was actually said. Late in the film there is an imaginative banquet scene in which the camera carefully pans the length of a dining table highlighting the place cards (each a little paper doll inscribed with a guest's name) while the corresponding but off-screen voices converse on the soundtrack; then the camera moves back to reveal the whole table and all of the people we have been listening to. The yard between the diner where Stanwyck works and the house where the owners live is well depicted: tattered laundry hanging on a line, overflowing garbage cans and kittens playing.

The screenwriter Robert Riskin contributes some snappy and witty dialogue. He worked quite frequently with Frank Capra, penning the scripts for IT HAPPENED ONE NIGHT, MEET JOHN DOE, LADY FOR A DAY and MR. DEEDS GOES TO TOWN, among others. All of these films address the issue of "decency" – what truly constitutes decency? Saying you are decent or actually being decent?

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