Gentlemen Are Born (1934) User Reviews

The Graduates

[lugonian · 7/10 · 21 August 2011]

GENTLEMEN ARE BORN (First National Pictures for Warner Brothers, 1934), directed by Alfred E. Green, is not so much about one dealing with the birth of babies growing up to become gentlemen, but one about four classmates and what becomes of them after receiving their diplomas. An offspring to CHANGE OF HEART (Fox, 1934), starring Janet Gaynor and Charles Farrell, and forerunner, perhaps to THE GROUP (United Artists, 1966), GENTLEMEN ARE BORN, using similar patterns of both, depicts realistically on the joys and hardships of graduates going out into the real world. With this one set fittingly during the Depression, the situations depicted are relevant in any generation.

The narrative begins with a college graduation where "the gang," consisting of Bob Bailey (Franchot Tone), Tom Martin (Ross Alexander), "Smudge" Johnson (Nick Foran) and Fred Harper (Robert Light), along with other classmates, receiving diplomas from members of the faculty. After moving to New York where they share both apartment and expenses, Bob lands a job working for a newspaper while Tim, hoping to become an architect, intends on marrying his sweetheart, Trudy Talbot (Jean Muir) who, to become closer to Tim, also moves to New York where she finds and shares an apartment with Susan Merrill (Ann Dvorak), a librarian. While Smudge fails to obtain employment in his field of high school coach, he struggles endlessly finding work of any kind or at least holding on to them. As for Fred, he has it easy with his $25 a week desk job working in a brokerage firm under his father's (Henry O'Neill) business, Harper & Son. As the story progresses, Bob becomes romantically involved with Fred's sister, Joan (Margaret Lindsay), who loves him but falls victim of her snobbish society-minded mother (Marjorie Gateson) who very much prefers she'd marry Stephen Hornblow (Charles Starrett), a man more of "her social class." After a reunion with the "gang," Smudge, through Bob, meets, falls in love and marries Susan; Tom and Trudy's marriage later produces a son; while Fred faces financial troubles with his father's firm. The fate of these graduates unfolds with differing results, for as gentlemen are born, life goes on.

GENTLEMEN ARE BORN may not be fast-paced excitement but something that seems to rely on character byplay, with characters viewers can easily relate to on an individual level. Franchot Tone (on loan-out assignment from Metro-Goldwyn-Mayer), the leading member of the gentlemen graduates, is ambitious and knows exactly what he wants; Ross Alexander (in Warners debut) is the happy-go-lucky individual who looks at things on the positive side; Robert Light plays the spoiled son with everything given to him, only to learn life is not as easy as it seems; while Dick, billed "Nick Foran" (also in Warners debut, then on loan from Fox Studios), stands out among the others as the athletic type who becomes the tragic figure, making more mistakes than accomplishments with his goal in life. While the female co-stars are equally balanced in their portrayals, only Ann Dvorak is given a sort of thankless role that's phased out early in the story. Her disappearance is easily mentioned through a letter explaining of her return to Des Moines, Iowa. A fine blend of melodrama and "soap opera" that should hold one's interest for its 74 minutes, though are a couple of scenes left unresolved. Scoring to "Alma Malta" sets the tone during the college segments while "Romance Must Be Loved" a nice tune introduced by Dick Powell in HAPPINESS AHEAD, becomes the underscoring theme song during the romantic interludes.

With likable principal leads, only Jane Darwell as the unruly landlady and Virginia Howell as the head librarian are two of the most unsympathetic characters. Bradley Page as Al Ludlow assumes his usual persona of a company thief, while stock players as Russell Hicks (The Newspaper Editor); Henry Armetta and Addison Richards take precedence in smaller roles.

With Turner Classic Movies the leading cable channel for classic films since 1994, with many from the Warner Brothers library, GENTLEMEN ARE BORN is one that isn't shown as often as the others but worthy of rediscovery from the bygone era of the 1930s. (***)

Can't say it's good, can't say it's bad. But I watched it all the way through.

[vincentlynch-moonoi · 7/10 · 1 February 2016]

I don't know quite what to make of this film.

On the surface, it's "just" the story of 4 fellows who graduate from college right in the middle of the Great Depression. One -- Franchot Tone -- seemingly does reasonably well moving into a job as a newspaper reporter, and finds his biggest challenges to be his love for a young woman in the upper class (Margaret Lindsay). His friend (Robert Light) goes to work for his wealthy father, and that turns sour when the father (Henry O'Neill...a fine character actor) commits suicide by jumping out of his office window...keep in mind that it is the middle of the Great Depression). Ross Alexander gets married fairly soon after graduation (to Jean Muir) and the newlyweds have a baby fairly quickly, and face the problems of paying to raise a family and medical bills. But the athlete of the group -- Dick Foran -- faces the biggest challenges as he can't find a coaching job, becomes a failed amateur boxer, falls in love, but can't keep his life together..

Here's the question I have: what exactly does the title mean? Is it saying that only the true gentleman of the group -- Tone's character -- ends up being the successful one? Think about it if you watch this film.

Franchot Tone does nicely here; I always found him to be an interesting actor -- not one of the great actors, but intriguing. Jean Muir, Margaret Lindsay, and Ann Dvorak do nicely as the love interests. Ross Alexander was an actor I wasn't very familiar with; after looking him up he led a disappointing life, even though he had potential as an actor. I always thought that Dick Foran was a limited actor, and here he proves that. I'm not saying it's a bad performance, but he was certainly a lightweight. Robert Light similarly turns in a light performance.

As I was watching this film, I occasionally thought that I'm not exactly enjoying the film, yet I kept watching. I can't explain that. It's certainly better than a lot of films from 1934. So give it a try.

Better than rumor has it

[jerryunderwood1962 · 7/10 · 12 October 2022]

I found this drama to be very engaging. I think that we too often look at these movies through the lens of today, rather than through the lens of the times.

From that viewpoint, this movie is quite good. That pervasive sense of bonhomie would have been desired in those horrible days, lest the movie fall too much into a tragedy, and who wanted to be reminded of tragedy in the 1934 Depression? People went to the movies as a form of escape.

I found most of the scenarios credible and the actors, for the most part, competent. Dick Foran's acting was too amateurish, but he didn't get the lion's share of the screen time, either.

I didn't like Susan's abrupt disappearance from the story, and I did find the Dick Foran scenario implausible. (In the 1930s, college was expensive and reserved for the fortunate few; his family surely would have helped him avoid his fate.)

Having said that, this is a good movie. Watch it.

We Are Poor Little Lambs

[boblipton · 9 August 2011]

This Warner Brothers soap opera about four recent college graduates trying to make their ways in the depression and their lady loves is one of their A pictures but, while competently written and acted, is too diffuse to make a great picture. The large cast, headed by Franchot Tone on loan from MGM, has a myriad of interconnected stories whose frequently genteel handling is nowhere near as interesting as their earthy, snappy-pattered B movies of the period.

One nice point of the movie is that money is a real issue in this movie and the actors show it. Even Tone, who spent most of his career playing people who just happened to be out of pocket money at the moment, looks and behaves like a man whistling the dark and Dick Foran is excellent as a man who is defeated by the world. The woman are very good too, particularly Jean Muir. However the movie, while never descending below competence, never manages any moments that strike home.

Topical Film on Recent College Grads Passable - Gentlemen are Born

[arthur_tafero · 6/10 · 23 March 2022]

Some experiences in life are universal and timeless. This film illustrates one of them; getting started in life after finishing college. A modern college graduate will identify quite a bit with the frustrations and trials of the protagonists in this film. Life is challenging for just about everyone, unless you are born with a silver spoon.

Franchet Tone is the only A actor in this group, but the other members of the cast do a fine job as well. Compounding the problem of finding a job after school is the reality of The Great Depression, where bankers and lawyers were often selling apples or shining shoes. Worth viewing.

"Gentlemen Are Born" Is A Really Bad Movie

[gerrythree · 4/10 · 9 August 2011]

TCM finally aired "Gentlemen Are Born" on 9 August 2011 as one of 24 hours' worth of Ann Dvorak movies, she being the star of the day. When Darryl Zanuck was in charge of production at Warner Bros., he would have never allowed this pathetic movie to go into production. The credits say Alfred E. Green directed this movie, so he must have, although I find that hard to believe.

Somehow, Franchot Tone got the starring role here, maybe Jack Warner thought he would lend some prestige to the movie, what with Tone usually working at MGM then. Franchot Tone's acting here is horrible, his thin-lipped smile makes him look like he is trying out for a role as the next Dracula. For me, the high point of the story was when Tone's character, Bob Bailey, working as reporter, asks the businessman father of one of his college chums if he is familiar with rumors linking the father's business to a bank that just failed. Mr. Harper, the father, tells Tone to wait in the outer office with his son while he goes into his private office. Next thing you know,Harper jumps out the window and Bailey is telling his editor by phone that Harper accidentally fell out the window, a story the editor isn't buying.

Margaret Lindsay is in this movie also and she looks great, even if her role is totally unreal. At least she doesn't end up like another college chum of Tone's played by Dick Foran. Foran's character gets beaten up in a boxing match, is wrongly tied in to a truck theft ring and gets mistaken as a stickup man.

Next time TCM shows this movie, avoid it.

29 November 2011: Robert Lee Johnson, responsible for the story and screenplay of this turkey, floated from studio to studio as a screenplay writer. He probably thought this movie would put him on the Hollywood map, with its mix of pretentious characters and preposterous storyline, all played with a straight face by the actors here. Instead, this movie tanked and Johnson went on to a career as co-scriptwriter for hire at any studio hiring.

If not for one voter here, my review would have scored all negative votes from the IMDbers who saw this movie. Darn it, too bad that one voter can't retract his positive vote. Those negative voters must live in world where it is the norm for crooked banksters to say say "excuse me" and then commit suicide by jumping out of their office window. If this movie were a comedy, that scene would have been a laugh riot. Trouble is, hack scriptwriter Johnson was being serious. This movie represents a real waste of director Alfred Green's talent.

Topical Today!!!

[xerses13 · 8/10 · 9 August 2011]

Four (4) Friends graduate from College and start on the adventure of bringing about a new life for themselves. One which has been promised to them by their status as graduates. Unfortunately they are being thrust into the economic maelstrom of the 'Great Depression' which in 1934 was entering its darkest days.

The Friends, lead by Franchot Tone (Bob Bailey) has journalistic ambitions, but finds himself writing for a Tabloid. Hardly what is he was looking for. Robert Light (Fred Harper) is on the fast track thanks to his Father (Mr. Harper) Henry O'Neill who is a Wall-Street Shark and crook. Ross Alexander (Tom Martin) just rolls with the punches and Dick Foran (Smudge Casey) All American finds that last years 'grid-iron hero' is todays bum. Intermingled with their struggle to earn a living is romance and love. Ably provided for, particularly by Margaret Lindsay (Joan Harper) for Tone and Ann Dvorak (Susan Merrill) who falls for 'Smudge' whose marriage ends rather sadly. 'Smudge' contracting lead poisoning. In the end some make it others like 'Smudge' do not, watch and see, it is worth it.

The cast does a fine job in what is a 'B' picture. Particularly Tone and Foran as the doomed 'Smudge' with Dvorak. Another standout is Charles Starrett (Stephen Hornblow) a classmate on the way up, but has no time for those he sees as 'losers' like 'Smudge'. Starrett though after a promising start with Paramount and M.G.M. would spend the rest of his career in 'B' Westerns.

GENTLEMEN ARE BORN (1934) is as timely today as back then, for in the early days of the 21st Century it's tough going out there. Even for those with a College Degree. It better be in something useful and not a 'Communications Major', nor a Lawyer, we have enough of those parasites already. After all there are only so many jobs in Professional Sports!

Being a college graduate in the Depression could be so depressing...

[AlsExGal · 8/10 · 1 January 2015]

... and this fast moving little film using Warner Brothers' contract talent hits all of the important points of young people starting out with big dreams and what becomes of them all in the first couple of years after graduation. Young people today can probably see many parallels in the experience of the seven young people followed in this film versus what they experience today trying to elbow their ways into careers.

The story starts out on graduation day for four college seniors and buddies. Franchot Tone plays Bob, a guy who wants to be a newspaperman and has a crush on the sister (Margaret Lindsay) of fellow graduate Fred (Robert Light), who is all set up to go into the stock brokerage firm of his father. Tom (Ross Alexander) aspires to be an architect and marry his girl Trudy (Jean Muir) as soon as possible. Finally there is "Smudge" (Dick Foran) who has been the big college football player for four years and wants to parlay that into a coaching job.

Some of them - with difficulty and perseverance - get jobs in New York City - strangely enough this is the destination of all of them, none of the jobs pay that well, and roommates are a necessity in such austere times, often in boarding houses with a great view of the brick wall across the alley. Romance is found for all but Fred - he has the least screen time - but money is the roadblock for matrimony for all of them.

The film does a great job of interweaving the stories of all of the graduates, but the focus stays mainly on Tone's character, Bob, as a couple of times he has the distasteful task of being the action reporter on the scene of some tragedy related to his friends or their families. It is a harrowing journey but it has a rather upbeat ending with, ironically, Ross Alexander's character telling Bob to keep a stiff upper lip. This is ironic because Ross Alexander ended his own life just a little more than two years after this film was released.

If you liked the gritty reality of "Wild Boys of the Road" I think you'll like this film too. Highly recommended.

A genuine oddity! Imagine...a film where people living the in Depression cannot find jobs!

[planktonrules · 8/10 · 18 March 2016]

Although at the height of the Depression the unemployment rate was about 25%, you'd never have thought this based on movies coming out of Hollywood at the time. A few, such as "Wild Boys of the Road" (1933), talked about the widespread unemployment...but most films showed well-fed, happy and successfully employed people. You really wouldn't have believed that there was a Depression based on the movies...especially since so many had to do with very rich folks and seldom the very poor. Because of this, "Gentlemen Are Born" is an oddity because it deals with these struggles to find work during this era. And, it came from one of the only studios that DID talk about the Depression, Warner Brothers.

When the film begins, four young men are eager and ready to graduate college and go into the job market. However, a rude awakening awaits three of them. Jobs are scarce and underemployment common. In other words, you find one of the guys taking on day labor and boxing just to have enough to eat...even with his diploma! And, through the course of the film, mostly the guys and their wives/girlfriends experience heartbreak after heartbreak as it seems as if the system is stacked against them. Suicides, crime, hospitalizations, unemployment and more make this a film that seems like a call for social change. And, considering how strong the voices were for socialism and communism were during this era and how adamantly the studios fought this, the film comes off as a bit shocking. But it's also well made and an excellent window into a sad bygone era...with excellent acting and lots of heartbreaking moments. A sad but fascinating and rather realistic (for a change) look at the Depression.

Lacks Needed Grit

[dougdoepke · 9 March 2016]

I guess I was expecting a gritty tale from the height of the Great Depression, 1934. Then too, I'm seeing a First National Production and conflate that with their merger with tough-minded Warner Bros. Unfortunately, the movie unfolds more like a soap opera than the gritty Warner Bros tale I was expecting. Four buddies graduate college expecting easy avenues to go along with their gilded status. Instead, they get the uncertainties and shoestrings that the working class experiences as breadlines and park benches. For sure there's lots of story potential here. But instead, of gravitas we get lightweight characters bouncing around in amiable fashion. In fact, there are two sobering moments reflecting the desperate times, but these get folded quickly into the general bonhomie characterizing the film as a whole.

A couple of conjectures on the film. For one, it's Code-Approved in censorship's first year of Hollywood enforcement. Unfortunately, that same censorship worked to empty movie content of anything that might reflect on moral, political, or economic sacred cows, and was in fairly rigorous effect for the next 30-years. Thus the film may have had reason to over-compensate away from its grim potential. Second, a large number of personal stories are crammed into a short runtime, 75-minutes. Thus, from a more narrative standpoint, focus bounces from here to there, weakening those few more serious moments. Anyway, folks like me who may be looking for insight into a Depression era upper-class are apt to be disappointed. Too bad, because today's college graduates face many of the same bleak prospects, minus the assured Hollywood ending.