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Smarty (1934)

 -  Comedy  -  19 May 1934 (USA)
5.7
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Ratings: 5.7/10 from 151 users  
Reviews: 10 user | 2 critic

Vicki Wallace (Joan Blondell) takes great pleasure in teasing her husband,Tony Wallace (Warren William), who takes no pleasure at all in being teased and it isn't long before he ups and ... See full summary »

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(screen play), (screen play), 1 more credit »
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Title: Smarty (1934)

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Cast

Complete credited cast:
...
Vicki
Warren William ...
Tony
...
Vernon
Frank McHugh ...
George
Claire Dodd ...
Anita
Joan Wheeler ...
Mrs. Bonnie Durham
Virginia Sale ...
Edna - Vicki's Maid
Leonard Carey ...
Tilford - Tony's Butler
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Storyline

Vicki Wallace (Joan Blondell) takes great pleasure in teasing her husband,Tony Wallace (Warren William), who takes no pleasure at all in being teased and it isn't long before he ups and clips her on the chin. Vicki's friend and attorney, Vernon Thorpe (Edward Everett Horton), secures a divorce for her, and Vicki and Vernon are soon married. Vicki's yen for wearing revealing clothes and a penchant for inviting ex-husband Tony to dinner soon provokes the easily-provoked Vernon into belting one on her himself. She goes to Tony's apartment, where Tony is entertaining Bonnie (Joan Wheeler), who is not all that entertained by the presence of Vicki, especially after Vicki shows every intent of moving in and staying. Vernon shows up with George (Frank McHugh) and Anita (Claire Dood), evidently along so F. Hugh Herbert's lines can be spread among five players instead of three, and Vicki more or less tells Vernon that as long as she is going to be slugged by a husband, she will just go back to ... Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis

Genres:

Comedy

Certificate:

TV-G
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Details

Country:

Language:

Release Date:

19 May 1934 (USA)  »

Also Known As:

Hit Me Again  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The play opened first in Philadelphia, Pennsylvania, USA on 1 October 1927. It was retitled "Funny Face" for its New York run off-Broadway beginning 22 November 1927. See more »

Quotes

George Lancaster: Love is the illusion that one woman differs from another.
See more »

Connections

References The Public Enemy (1931) See more »

Soundtracks

Bridal Chorus
(1850) (uncredited)
from "Lohengrin"
aka "Here Comes the Bride"
Music by Richard Wagner
Variation played when marriage is announced in gossip column
See more »

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User Reviews

 
Where's the Censor
2 April 2011 | by (Claremont,USA) – See all my reviews

An early and not very effective entry in that 1930's movie specialty-- the screwball comedy. Some necessary elements are present— ritzy wardrobes, sophisticated dialog, colorful characters. Then too, the plot's appropriate-- a farcical marriage-go-round where no one much cares who's married to whom.

At the same time, catch the sexy Vicky (Blondell) as she endlessly rolls and unrolls her hosiery, that is, when not fitting into backless evening wear or craving a little rough man-handling. In short, it's the kind of provocative material that soon brought down the heavy hand of Hollywood censorship. (Scope out the very last scene that I expect challenged even the loose conventions of the time.)

The women are well cast, including the eye-rolling Blondell, a dryly sensible Claire Dodd, and a sweetly seductive Joan Wheeler. The problem is with the two male leads. Now, I'm a big fan of Warren William who's unequalled in ruthless, authoritative parts, e.g. Employee's Entrance (1933), Skyscraper Souls (1932), which remain true period classics. The trouble is that the role here of the discombobulated husband Tony calls for the light comedy skills of a William Powell, for example; the aristocratic William does try hard, but lacks that particular flair. Also, the naturally comedic Horton is memorable in eccentric parts, but is unfortunately miscast here as a strait-laced, jealous husband.

At the same time, director Florey doesn't manage the kind of zany pacing that could have smoothed over some of the questionable parts. Too much of his deliberate tempo comes across like the stage play the material is adapted from. As a result, the movie has its moments—mainly the super coy Blondell and a provocative parade of 30's fashions—but is otherwise a titillating disappointment.


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