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Selling flowers is her business. Keeping secrets keeps the customers coming back.

Author: mark.waltz from United States
9 February 2017

*** This review may contain spoilers ***

A high regarded but overlooked 1930's leading lady, Jean Muir was a smart platinum blonde with a gracious demeanor hiding the neurosis behind some memorably complicated characters. She owns and runs a flower shop in one of Manhattan's chicest hotels, and is given eviction papers from hotel attorney John Boles, all so they can put in a branch bank. Thinking that she'll get emotional "like a typical woman", he isn't prepared for her to fight him, let alone escort him to the opera. But he's married, unaware that his wife is unfaithful, something that Muir discovers quite by surprise. As their friendship grows, she must deal with her growing feelings, plus the knowledge of what's going on behind his back.

This is a very elegant drama that mixes in a variety of styles of comedy, featuring Charles Butterworth in an amusing comic role as a close pal of Muir's who happens to be the hotel's top stock holder. Future Dagwood, Arthur Lake, has an amusing part as one of the shop clerks, with such familiar faces as Spring Byington, Arthur Treacher, Warner Oland, John Qualen and Margaret Dumont in supporting roles. The screenplay is very bright and smart, with Boles performing an amusing novelty number. It's nice to see Muir's character taking charge but being an absolutely brilliant business woman, yet fair and loyal to her employees.

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Top-of-the-scale Jean Muir vehicle!

Author: JohnHowardReid
5 March 2016

*** This review may contain spoilers ***

This one is a vehicle for the very charming and attractive Jean Muir, who displays a resolute, likable, independent personality on the screen. Obviously, I am not the only one smitten by her charms. She is very attractively dressed here by René Hubert and stunningly photographed by Merritt B. Gerstad. Admittedly, the movie is a somewhat lesser vehicle for the other players. John Boles tries hard to appear at ease, but is still inclined to be rather stiff – and as a children's entertainer here, he is most unconvincing. Charles Butterworth is his usual comic self, but despite all his efforts to clown around, the screenplay doesn't give him anything very funny to do or say. Sidney Toler is also not well served by the script, forcing him to overcome this problem by way overplaying the effusiveness of the character to the point where he becomes quite unconvincing – and why he becomes such a good Samaritan to our heroine is not even hinted at. Also struggling with thin material is Arthur Lake who has a lengthy Dagwood-like role. Harvey Stephens, however, is quite equal to the task of mystery man. Spring Byington has a more dramatic role than usual, and acquits herself well. Also doing well here is director William A. Seiter. Not only is he brisk and capable, but he indulges a flair for pace and movement that is quite unusual, e.g. the zooming camera in the opening sequence. As noted above, René Hubert has designed some eye-catching costumes. In fact, production values are first rate, top-of-the- scale and one wonders why this movie with so many pluses and so few minuses is not much better known.

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