Never viewed this Jean Harlow film where she stars as a widow with the name, Crystal Wetherby and Robert Taylor, (Raymond Dabney). Robert Dabney just comes home to his family after being in prison for six months for breaking the law and his brother and father are not pleased to see him come back home. Robert's mother is the only one who is happy to see her son and she wants to protect her son. The Dabney Family deals with ladies underwear and the business is not doing very well and Robert's brother wants to marry Crystal Wetherby for her money in order to save his business and he does not want anyone to know he had a brother who went to prison. It just so happens that Crystal is also broke and owes a large sum of money and she is being hounded by the bill collectors. Raymond Dabney is hired by a sheriff to collect the funds owed him and requires that Raymond stay in Crystal's home until the debt is paid. Crystal decides to have Raymond pose as her butler, but does not realize that Raymond is a Dabney and his brother wants to marry her. There is plenty of comedy and Jean Harlow and Robert Taylor burn up the silver screen together.
27 Reviews
An okay film but see Jean in her better films
mgmstar12824 April 2008
I have been seeing many of Jean Harlow's films thanks to the glorious T.C.M. In the past few months, I have caught The Girl From Missouri, Reckless, Dinner at Eight, Wife Versus Secretary, and Red Headed Woman. My opinion of her as a comedienne has definitely improved after seeing her growth and maturation as an actor. Actually, all the titles I mentioned are better than Personal Property.
As for this movie, Jean is charming as ever, but she does not exhibit the same sparkle as she had in previous films. She looks beautiful as always, but she does show a bit of the extra weight also exhibited in Saratoga. Of course, this was due to her kidneys failing, as her health was in serious and fatal decline.
The movie itself is a bit on the slow side, and I think Robert Taylor, though handsome, wasn't up to her level. I think part of the film fell flat due to his performance.
One thing that totally puzzles me is that in the movie Robert Taylor's family all have British accents except for him. He sounds totally American. What's the deal with that?
A piece of trivia: I noticed that in the film she wore William Powell's star sapphire ring, a sort of engagement ring.
If you are a Jean Harlow fan, this movie should be seen, but she's so much better in Red Headed Woman, The Girl From Missouri, and Bombshell, just to name a few.
It's sad to see that Jean Harlow is largely forgotten by so many in our society today. Read David Stenn's book Bombshell: The Life and Death of Jean Harlow for superb information on her.
As for this movie, Jean is charming as ever, but she does not exhibit the same sparkle as she had in previous films. She looks beautiful as always, but she does show a bit of the extra weight also exhibited in Saratoga. Of course, this was due to her kidneys failing, as her health was in serious and fatal decline.
The movie itself is a bit on the slow side, and I think Robert Taylor, though handsome, wasn't up to her level. I think part of the film fell flat due to his performance.
One thing that totally puzzles me is that in the movie Robert Taylor's family all have British accents except for him. He sounds totally American. What's the deal with that?
A piece of trivia: I noticed that in the film she wore William Powell's star sapphire ring, a sort of engagement ring.
If you are a Jean Harlow fan, this movie should be seen, but she's so much better in Red Headed Woman, The Girl From Missouri, and Bombshell, just to name a few.
It's sad to see that Jean Harlow is largely forgotten by so many in our society today. Read David Stenn's book Bombshell: The Life and Death of Jean Harlow for superb information on her.
Mildly amusing battle of the sexes between Harlow and Taylor...
Doylenf20 April 2010
What surprised me about PERSONAL PROPERTY is that Robert Taylor had such a good sense of humor that could have been used in more films of this type for him when he was starting out. Usually cast as a rather dour and stern looking type (and later, the heroic villain or bad guy with a gun), it's a pleasure to see him in this mild romantic comedy that passes the time pleasantly enough but is easily forgotten.
Jean Harlow co-stars with Taylor in what would be her last completed role for MGM. She seems a bit sluggish with her comeback remarks and somehow seems lacking the zest she usually showed in her romantic comedies with William Powell or Clark Gable. But she and Taylor make a handsome couple.
The silly story never quite comes off as convincing enough with a strange number of elements in the plotting that has Taylor pretending to be her butler while falling in love with her--although she seems to resist his charms from the start. While the predictable ending is never in doubt, it takes a bit of persuasion to believe his brother could be Reginald Owen.
Summing up: The thin plot moves rather sluggishly despite the brief running time but there are a few chuckles to get out of the whole thing. All in all, it's undistinguished from any viewpoint and a not too subtle jab at the idle rich.
Jean Harlow co-stars with Taylor in what would be her last completed role for MGM. She seems a bit sluggish with her comeback remarks and somehow seems lacking the zest she usually showed in her romantic comedies with William Powell or Clark Gable. But she and Taylor make a handsome couple.
The silly story never quite comes off as convincing enough with a strange number of elements in the plotting that has Taylor pretending to be her butler while falling in love with her--although she seems to resist his charms from the start. While the predictable ending is never in doubt, it takes a bit of persuasion to believe his brother could be Reginald Owen.
Summing up: The thin plot moves rather sluggishly despite the brief running time but there are a few chuckles to get out of the whole thing. All in all, it's undistinguished from any viewpoint and a not too subtle jab at the idle rich.
Harlow's last completed film for MGM
blanche-213 August 2014
I always watch Robert Taylor in memory of my mother; she loved him. This film is a Taylor-Harlow pairing, "Personal Property," a watered-down version of the play, and the first time it was made, it was a precode film, A Man of Possession.
Taylor is Raymond Dabney, the black sheep in a successful family, all of whom are British except for him, evidently, as he sports no accent. He's been released early from prison after selling a car he didn't own. His brother Claude (Reginald Owen) and father (E.E. Clive) aren't happy to see him, unlike his mother, so they offer Raymond 300 pounds to go anywhere he wants, preferably out of the country. Raymond chooses London.
At a cocktail lounge, Raymond meets Crystal Wetherby (Harlow), a widow. Raymond is interested and follows her to the opera Aida, and then he follows her home. At her home, he meets a bailiff who is going to sit in Crystal's house until she pays what she owes.
Crystal is throwing a dinner for her fiancé and future in-laws; Raymond kindly offers to pretend to be her butler. When the future family shows up, a few problems present themselves.
Jean Harlow was always very likable, although here, she's a little more low-key. She wears her engagement ring from William Powell throughout the film; it's sad that her life was cut so short. I thought Taylor was just fine. He had a nice sense of comedy. But I have to agree with some others that the role would have been better suited to Franchot Tone or Cary Grant. Taylor was a beautiful man, and he looked great in evening clothes, but he was a farm boy at heart and didn't have quite the sophistication necessary.
I found this film slow and not very involving, but I loved the two stars.
Taylor is Raymond Dabney, the black sheep in a successful family, all of whom are British except for him, evidently, as he sports no accent. He's been released early from prison after selling a car he didn't own. His brother Claude (Reginald Owen) and father (E.E. Clive) aren't happy to see him, unlike his mother, so they offer Raymond 300 pounds to go anywhere he wants, preferably out of the country. Raymond chooses London.
At a cocktail lounge, Raymond meets Crystal Wetherby (Harlow), a widow. Raymond is interested and follows her to the opera Aida, and then he follows her home. At her home, he meets a bailiff who is going to sit in Crystal's house until she pays what she owes.
Crystal is throwing a dinner for her fiancé and future in-laws; Raymond kindly offers to pretend to be her butler. When the future family shows up, a few problems present themselves.
Jean Harlow was always very likable, although here, she's a little more low-key. She wears her engagement ring from William Powell throughout the film; it's sad that her life was cut so short. I thought Taylor was just fine. He had a nice sense of comedy. But I have to agree with some others that the role would have been better suited to Franchot Tone or Cary Grant. Taylor was a beautiful man, and he looked great in evening clothes, but he was a farm boy at heart and didn't have quite the sophistication necessary.
I found this film slow and not very involving, but I loved the two stars.
Gentleman Prefers Blonde
lugonian31 January 2012
PERSONAL PROPERTY (Metro-Goldwyn-Mayer, 1937), directed by W.S.Van Dyke, stars Jean Harlow in one of her final screen performances before her untimely death later in the year. In her only comedy, in fact, only movie role opposite then rising leading man, Robert Taylor. It was also a remake of MGM's earlier carnation titled THE MAN OF POSSESSION (1931) starring Robert Montgomery and Irene Purcell in the Taylor and Harlow roles. While each have aired on Turner Classic Movies for comparison, both are forgotten comedies with the latter noteworthy only for the screen presence of Jean Harlow alone.
Taylor plays Raymond Dabney, son of an accomplished British family. Having served a jail sentence for selling a car without having paid for it, and now released early for good behavior, Raymond, greeted by his loving mother (Henrietta Crosman), doesn't get the same reception from his serious minded brother, Claude (Reginald Owen), partners with his father (E.E. Clive) in women's underwear. With both men disowning him as part of the family, Raymond is offered 300 pounds to go far away as possible and start life anew, possibly in Canada or Australia, but he would rather remain in London instead. Later, while at a cocktail lounge, Raymond meets Crystal Wetherby (Jean Harlow), an American widow of a big game hunter. Impressed by her beauty, Raymond, after making a bad impression, follows her to the opera and seats himself beside her during a performance of "Aida." If that's not enough, Raymond follows her home after the performance. Through arrangements by Herbert Jenkins (Forrester Harvey), a bailiff working for the sheriff whose wife is in the hospital expecting a baby, Raymond gets his opportunity by taking his place and legally entering as well as staying in Crystal's mansion as a "man in possession," a custodian of her possessions until the debts of her personal property have been paid. Due to her upcoming dinner plans to entertain her fiancé and future in-laws, Raymond agrees to assist her by acting the role of Ferguson, her butler. All goes well until Raymond meets Crystal's guests, who turn out to be more than familiar faces from his questionable past.
With the plot being centered more on Robert Taylor's character than Harlow's, both become equally balanced by the midway point. PERSONAL PROPERTY does has some funny scenes. While, Hugh Mills and Ernest Vadja, who scripted this story from the play by H.M. Harwood, make every effort by turning this into an honest effort of hilarious drawing room comedy, the final results are simply average, no more, no less. One truly funny moment occurs with the arrival of mumbling British bore (Barnett Parker) and his confused exchange with Taylor. This great scene was later clipped into a 1964 documentary, MGM'S BIG PARADE OF COMEDY, which indicates others have felt this a highlight as well. Very brief, but good. A pity there weren't enough great scenes like it to make up for some rather weak material. Another problem with PERSONAL PROPERTY is that Taylor acts and looks too American to play the part of a British family. Taylor's butler and Harlow's rich girl gimmick is an obvious attempt to bring forth another MY MAN GODFREY (1936) that served William Powell and Carole Lombard so well, though not on the same level.
Cora Witherspoon, who previously enacted opposite Harlow in the hilarious LIBELED LADY (1936) as Mrs. Burns-Norvell, the gabby mother, assumes similar chores here, this time simply as Mrs. Burns, with Marla Shelton as her flirtatious daughter who has her eyes on the young "butler" (Taylor). Interesting to note the supporting players, consisting those of Una O'Connor (in the role as Harlow's maid); Forrester Harvey and E.E. Clive to be those in memorable support in the James Whale science fiction classic, THE INVISIBLE MAN (Universal, 1933). Even more interesting is both Reginald Owen and Forrester Harvey reprise their roles from the 1931 film. Other British character types as Billy Bevan and Lionel Brahm serve their brief parts well.
Placed on home video in the 1990s, PERSONAL PROPERTY should make an impression on those curious about the careers of both Harlow and Taylor, or lesser known "screwball comedies" from this era. With better roles ahead for Taylor, especially his reported personal favorite being WATERLOO BRIDGE (1940), Harlow next project would be another comedy, SARATOGA, noteworthy mostly as the one she never lived to complete, though her remaining scenes were performed by a stand-in double. For PERSONAL PROPERTY, it's all Harlow. (**1/2)
Taylor plays Raymond Dabney, son of an accomplished British family. Having served a jail sentence for selling a car without having paid for it, and now released early for good behavior, Raymond, greeted by his loving mother (Henrietta Crosman), doesn't get the same reception from his serious minded brother, Claude (Reginald Owen), partners with his father (E.E. Clive) in women's underwear. With both men disowning him as part of the family, Raymond is offered 300 pounds to go far away as possible and start life anew, possibly in Canada or Australia, but he would rather remain in London instead. Later, while at a cocktail lounge, Raymond meets Crystal Wetherby (Jean Harlow), an American widow of a big game hunter. Impressed by her beauty, Raymond, after making a bad impression, follows her to the opera and seats himself beside her during a performance of "Aida." If that's not enough, Raymond follows her home after the performance. Through arrangements by Herbert Jenkins (Forrester Harvey), a bailiff working for the sheriff whose wife is in the hospital expecting a baby, Raymond gets his opportunity by taking his place and legally entering as well as staying in Crystal's mansion as a "man in possession," a custodian of her possessions until the debts of her personal property have been paid. Due to her upcoming dinner plans to entertain her fiancé and future in-laws, Raymond agrees to assist her by acting the role of Ferguson, her butler. All goes well until Raymond meets Crystal's guests, who turn out to be more than familiar faces from his questionable past.
With the plot being centered more on Robert Taylor's character than Harlow's, both become equally balanced by the midway point. PERSONAL PROPERTY does has some funny scenes. While, Hugh Mills and Ernest Vadja, who scripted this story from the play by H.M. Harwood, make every effort by turning this into an honest effort of hilarious drawing room comedy, the final results are simply average, no more, no less. One truly funny moment occurs with the arrival of mumbling British bore (Barnett Parker) and his confused exchange with Taylor. This great scene was later clipped into a 1964 documentary, MGM'S BIG PARADE OF COMEDY, which indicates others have felt this a highlight as well. Very brief, but good. A pity there weren't enough great scenes like it to make up for some rather weak material. Another problem with PERSONAL PROPERTY is that Taylor acts and looks too American to play the part of a British family. Taylor's butler and Harlow's rich girl gimmick is an obvious attempt to bring forth another MY MAN GODFREY (1936) that served William Powell and Carole Lombard so well, though not on the same level.
Cora Witherspoon, who previously enacted opposite Harlow in the hilarious LIBELED LADY (1936) as Mrs. Burns-Norvell, the gabby mother, assumes similar chores here, this time simply as Mrs. Burns, with Marla Shelton as her flirtatious daughter who has her eyes on the young "butler" (Taylor). Interesting to note the supporting players, consisting those of Una O'Connor (in the role as Harlow's maid); Forrester Harvey and E.E. Clive to be those in memorable support in the James Whale science fiction classic, THE INVISIBLE MAN (Universal, 1933). Even more interesting is both Reginald Owen and Forrester Harvey reprise their roles from the 1931 film. Other British character types as Billy Bevan and Lionel Brahm serve their brief parts well.
Placed on home video in the 1990s, PERSONAL PROPERTY should make an impression on those curious about the careers of both Harlow and Taylor, or lesser known "screwball comedies" from this era. With better roles ahead for Taylor, especially his reported personal favorite being WATERLOO BRIDGE (1940), Harlow next project would be another comedy, SARATOGA, noteworthy mostly as the one she never lived to complete, though her remaining scenes were performed by a stand-in double. For PERSONAL PROPERTY, it's all Harlow. (**1/2)
Finding Love When You Look For Money
bkoganbing4 November 2006
Personal Property was the last completed film of Jean Harlow and the only one she was teamed with Robert Taylor. She's an American married to an Englishman who died and left nothing to her, but debts. She's got bill collectors beating down her door.
She figures an upper class accent is a guarantee of security, but tain't so Jean. She's set to marry Reginald Owen, who's family has a title, but little else. Their business has suffered some reversals and they need some quick capital themselves.
Before this double calamity takes place, along comes Robert Taylor who is a black sheep in Reginald Owen's family as his younger brother. Through an incredible comedy of errors he winds up Harlow's bill collector and later butler.
It's not a bad film, Harlow is great, she was sparkling and delightful and no trace of the illness that would claim her life while filming her last picture Saratoga.
Taylor is oddly miscast though. I'm sure this was a part that was originally intended for Franchot Tone and he would have had just the right upper class touch. Taylor handles the comedy well, but Tone or Cary Grant would have made the film a classic.
In fact Taylor's part and some of the film premise you can also find in My Man Godfrey with William Powell without the social commentary.
Film buffs should see it for a once in a lifetime pairing.
She figures an upper class accent is a guarantee of security, but tain't so Jean. She's set to marry Reginald Owen, who's family has a title, but little else. Their business has suffered some reversals and they need some quick capital themselves.
Before this double calamity takes place, along comes Robert Taylor who is a black sheep in Reginald Owen's family as his younger brother. Through an incredible comedy of errors he winds up Harlow's bill collector and later butler.
It's not a bad film, Harlow is great, she was sparkling and delightful and no trace of the illness that would claim her life while filming her last picture Saratoga.
Taylor is oddly miscast though. I'm sure this was a part that was originally intended for Franchot Tone and he would have had just the right upper class touch. Taylor handles the comedy well, but Tone or Cary Grant would have made the film a classic.
In fact Taylor's part and some of the film premise you can also find in My Man Godfrey with William Powell without the social commentary.
Film buffs should see it for a once in a lifetime pairing.
Jean Harlow and Robert Taylor's only film together
Kalaman24 February 2003
Apparently the only film Jean Harlow and Robert Taylor starred together, this harmless but ultimately forgettable MGM star vehicle is gravely marred by plush MGM studio sets and a drab, unconvincing direction by W.S. Van Dyke, though it has its moments of unintentional humor. But given the stars and the studio, this could have been more entertaining. It is a tedious mélange of romance and comedy that somehow frazzles or drowns when a good or funny scene ends. Harlow plays an impoverished but glamorous American widow named Crystal Wetherby who, at first, has her sights set on a penniless Englishman (Reginald Owen) but soon becomes interested in Robert Taylor. If you are a fan of the stars, "Personal Property" can be eminently watchable, though Dyke's sluggish pacing can be gruelling at times.
Robert Taylor as a Brit? Why not use Mantan Moreland or Benson Fong instead?
planktonrules17 March 2016
Back during the golden age of Hollywood, things were not always so golden when it came to casting folks in films. Since almost all the actors were contract players essentially belonging to one studio, the studios often tried to fit the actors into films instead of finding the best actor or actress for the part. So, when MGM wanted to do a film about China, they cast Walter Huston and Katharine Hepburn in it! And, the same sort of wacky casting happened somewhat regularly. While not nearly as goofy, some knucklehead at MGM thought 'Robert Taylor isn't busy with a film and he IS very popular...so let's have him star in "Personal Property"'...even though the role calls for him to be English!! He sounds about as English as Greta Garbo...and this is the same guy who starred as a brash American in "A Yank at Oxford"! Now I am not saying this is a bad film....just a badly cast film. Jean Harlow (in her last completed movie) is just fine because she plays an American fortune- hunter. And, Reginald Owen is just fine as her upper-class English fiancé...though you are expected to believe he and Taylor are brothers!
When the film begins, Raymond Dabney (Taylor) has just gotten out of jail for something...though they don't say what. His brother, Claude (Owen) is upset because the sudden appearance of Raymond might scare away the fiancée, Crystal (Harlow). By a complete act of chance, Raymond sees Crystal at the opera and INSTANTLY falls head over heels for her. In 1930s films, this is kind of cute as he constantly follows her. When seen today, he seems much more like a creepy stalker!
It turns out that Crystal AND Claude are both interested in marrying each other because they think the other one is rich! Claude is far from rich...and Crystal is so broke that practically everything she owns is being repossessed! So how's all this going to work out and how is Raymond going to figure into all this? See the film...find out for yourself.
Overall, it's a decent film....enjoyable but also slight and easy to forget. The only outstanding portion was the dinner party sequence, as I thought it was rather funny seeing the British actors exaggerating their stuffy upper-class patter. They were so incredibly dull and awful...but funny.
When the film begins, Raymond Dabney (Taylor) has just gotten out of jail for something...though they don't say what. His brother, Claude (Owen) is upset because the sudden appearance of Raymond might scare away the fiancée, Crystal (Harlow). By a complete act of chance, Raymond sees Crystal at the opera and INSTANTLY falls head over heels for her. In 1930s films, this is kind of cute as he constantly follows her. When seen today, he seems much more like a creepy stalker!
It turns out that Crystal AND Claude are both interested in marrying each other because they think the other one is rich! Claude is far from rich...and Crystal is so broke that practically everything she owns is being repossessed! So how's all this going to work out and how is Raymond going to figure into all this? See the film...find out for yourself.
Overall, it's a decent film....enjoyable but also slight and easy to forget. The only outstanding portion was the dinner party sequence, as I thought it was rather funny seeing the British actors exaggerating their stuffy upper-class patter. They were so incredibly dull and awful...but funny.
Sparkling 1930's Comedy
Rainsford516 January 2005
Warning: Spoilers
Jean Harlow and Robert Taylor in this wonderful, sparkling and enjoyable comedy makes for great entertainment. After reading two other users reviews, I had to add my own review.
Watch, rent or own this film and it is worthy of adding to your collection. Harlow and Taylor make an excellent comedy team and the only disappointing thing I can say about this experience is that they didn't get to work together again. From the opening scene to the final denouement, the story is charming, and the wit bumps along at a great pace, no sluggish direction here, charming characters and stunning costumes make this a wonderful experience. If only they had made more comedies like this one.
If there is one let down in the production, it is the fact that it is a little hemmed in with the sets which while glamorous and smart, are a little claustrophobic and limiting. The picnic scene could have added a welcome breath of fresh air if filmed on location, and a welcome break from the interior shots.
I have enjoyed this film immensely and have given it a worthy 10 from 10. Harlow and handsome Taylor are a great looking couple, so glad to see them together at the end. Harlow sparkles as always in comedy and she is right in her element in this one.
Watch, rent or own this film and it is worthy of adding to your collection. Harlow and Taylor make an excellent comedy team and the only disappointing thing I can say about this experience is that they didn't get to work together again. From the opening scene to the final denouement, the story is charming, and the wit bumps along at a great pace, no sluggish direction here, charming characters and stunning costumes make this a wonderful experience. If only they had made more comedies like this one.
If there is one let down in the production, it is the fact that it is a little hemmed in with the sets which while glamorous and smart, are a little claustrophobic and limiting. The picnic scene could have added a welcome breath of fresh air if filmed on location, and a welcome break from the interior shots.
I have enjoyed this film immensely and have given it a worthy 10 from 10. Harlow and handsome Taylor are a great looking couple, so glad to see them together at the end. Harlow sparkles as always in comedy and she is right in her element in this one.
decent comedy
KyleFurr229 September 2005
This was directed by W.S Van Dyke the same guy who also directed the overrated The Thin Man and three of it's sequels. The movie stars Jean Harlow and this wasn't as good as some of her other comedies but better than some others like Saratoga. This was the only movie she made together with Robert Taylor. I always thought Taylor was overrated but he's pretty good in this movie. Taylor plays a man who just got out of prison for six months and his dad and brother want him gone now. The dad and brother own a business and it's doing pretty bad. Taylor then meets Harlow at a party and falls for her pretty quickly but she can't stand him. He follows her home and winds up getting a job as her butler and this is a pretty good comedy.
Neutered Remake of Pre-Code Bedroom Comedy
krdement29 January 2008
Warning: Spoilers
If you think this film is funny, you need to see the earlier, 1931 version, Man in Possession, starring Robert Montgomery. Made before the Hays Code, it is full of sexual tension and double entendre.
Personal Property, even with its great cast, is a pale imitation. It preserves the characters (and even adds a couple), but most of the innuendo has been written out of the dialog, and a couple of very steamy scenes have been deleted. The earlier version is a spicy, sexy bedroom comedy of errors. This remake, on the other hand, is bland drawing room comedy with slapstick elements.
The character, Arthur Trevelyan, transforms Personal Property into a farce - very nearly a "live" cartoon. If even one out of every three words he spoke were intelligible, Trevy might be funny. The fact that not a single word is understandable is bizarre. Even as a caricature of upper-crust British society, he is more puzzling than funny. In the context of the film, surrounded by the other perfectly understandable characters, he seems totally out of place - as if he wandered in from the Merry Melodies cartoon before the feature film!
Remaking a 1931 sex comedy in 1937 after the enforcement of the Hays Code results in a completely neutered film. And Trevy is the fire hydrant for this poor dog!
Personal Property, even with its great cast, is a pale imitation. It preserves the characters (and even adds a couple), but most of the innuendo has been written out of the dialog, and a couple of very steamy scenes have been deleted. The earlier version is a spicy, sexy bedroom comedy of errors. This remake, on the other hand, is bland drawing room comedy with slapstick elements.
The character, Arthur Trevelyan, transforms Personal Property into a farce - very nearly a "live" cartoon. If even one out of every three words he spoke were intelligible, Trevy might be funny. The fact that not a single word is understandable is bizarre. Even as a caricature of upper-crust British society, he is more puzzling than funny. In the context of the film, surrounded by the other perfectly understandable characters, he seems totally out of place - as if he wandered in from the Merry Melodies cartoon before the feature film!
Remaking a 1931 sex comedy in 1937 after the enforcement of the Hays Code results in a completely neutered film. And Trevy is the fire hydrant for this poor dog!
So you want to be my butler?
DAshton191810 October 2020
Stumbled onto this one on TCM the other day and was pleasantly surprised. Not the biggest Harlow fan but liked her and LOVED Robert Taylor in their roles...they definitely had chemistry together.
Director WS VanDyke briskly keeps the pace moving (just like in the "Thin Man" films) and some adorable oddballs "give the joint atmosphere", to paraphrase Nick from "It's A Wonderful Life". There are still some risque moments in this remake...I think in this case it's better that I HADN'T see the pre-Code original first so I could watch this fresh.
I REALLY loved the ending but I also am puzzled how Robert speaks perfect American while all of his family talks the Queen's English...elocution lessons?
Too bad it was Jean's next to last film...I'dve loved to see more of her...and I'll look for more Robert Taylor pics now, too.
It's a "Yes" from me.
Director WS VanDyke briskly keeps the pace moving (just like in the "Thin Man" films) and some adorable oddballs "give the joint atmosphere", to paraphrase Nick from "It's A Wonderful Life". There are still some risque moments in this remake...I think in this case it's better that I HADN'T see the pre-Code original first so I could watch this fresh.
I REALLY loved the ending but I also am puzzled how Robert speaks perfect American while all of his family talks the Queen's English...elocution lessons?
Too bad it was Jean's next to last film...I'dve loved to see more of her...and I'll look for more Robert Taylor pics now, too.
It's a "Yes" from me.
The Man In Possession
boblipton24 October 2023
Robert Taylor returns to his very English family. Five years in prison have robbed him of his accent, and their business needs an infusion of capital; his brother, Reginald Owen, will get it by marrying a rich widow. Taylor is given some money to disappears, and gets a job under a false name with the bailiffs. Jean Harlow is broke and her furniture is being taken away, but not today, so Taylor becomes the :man in possession" to make sure none of it disappears mysteriously. He finds out that she's the widow brother Owen is set to marry.
MGM had already made this movie in the pre-Code days, and this one is light, and carried mostl on the back of a home party Miss Harlow is giving for Taylor's -- thoroughly surprised -- family, at which Taylor butles. There are an assortment of amusing stereotypes, including predatory Americans, befuddled nobleman, and incomprehensible. W. S. Van Dyke directs with his usual efficiency, but the leads don't strike sparks off each other. With Una O'Connor, Henrietta Crossman, E. E. Clive and Cora Witherspoon.
MGM had already made this movie in the pre-Code days, and this one is light, and carried mostl on the back of a home party Miss Harlow is giving for Taylor's -- thoroughly surprised -- family, at which Taylor butles. There are an assortment of amusing stereotypes, including predatory Americans, befuddled nobleman, and incomprehensible. W. S. Van Dyke directs with his usual efficiency, but the leads don't strike sparks off each other. With Una O'Connor, Henrietta Crossman, E. E. Clive and Cora Witherspoon.
Harlow bulls her way through another heavy handed performance
Ravenloftrealm20 October 2017
Warning: Spoilers
I was amazed at how few reviewers knew that this film was a remake of the far superior, 'Man In Possession', made in 1931 with Robert Montgomery and Irene Purcell. Reginald Owen returns as the obnoxious brother, Claude Dabney and Forrester Harvey returns as the Bailiff.
The original cast has a huge edge over this sad grouping. Robert Montgomery is way out in front of Robert Taylor in the key role of Raymond Dabney. Likewise, Irene Purcell delivers an incredibly, sexy, charming, classy and witty performance that is completely beyond anything Harlow is capable of. C Aubrey Smith is superb as the father in the original while E.E. Clive is clueless here. There's no end to it as Charlotte Greenwood mops of the floor with Una O' Connor as the maid, 'Clara'.
Jean Harlow is listless and pedestrian as Crystal Wetherby, a woman who is in danger of losing her home and possessions to the bailiff. Once the precode era was over, Harlow 'bulled' her way through many a performance, especially, 'The Girl From Missouri' where she shrieks with self righteous indignation from start to finish. Here, she's too distracted and puffy for a full fledged rampage, but gets off plenty of low-brow jabs at Robert Taylor that are weary and tiring after awhile. The situation is so bad that for those who haven't seen, 'Man In Possession', you'll be absolutely amazed how different that film comes off even though both films have the identical plot. The whole tone is different, the pace is lightning fast and Irene Purcell never ever at any time cuts the legs out from under Montgomery the way Harlow does to Taylor. For those of you who actually like this film, I suggest you see, 'Man In Possession' and your eyes will be opened.
The original cast has a huge edge over this sad grouping. Robert Montgomery is way out in front of Robert Taylor in the key role of Raymond Dabney. Likewise, Irene Purcell delivers an incredibly, sexy, charming, classy and witty performance that is completely beyond anything Harlow is capable of. C Aubrey Smith is superb as the father in the original while E.E. Clive is clueless here. There's no end to it as Charlotte Greenwood mops of the floor with Una O' Connor as the maid, 'Clara'.
Jean Harlow is listless and pedestrian as Crystal Wetherby, a woman who is in danger of losing her home and possessions to the bailiff. Once the precode era was over, Harlow 'bulled' her way through many a performance, especially, 'The Girl From Missouri' where she shrieks with self righteous indignation from start to finish. Here, she's too distracted and puffy for a full fledged rampage, but gets off plenty of low-brow jabs at Robert Taylor that are weary and tiring after awhile. The situation is so bad that for those who haven't seen, 'Man In Possession', you'll be absolutely amazed how different that film comes off even though both films have the identical plot. The whole tone is different, the pace is lightning fast and Irene Purcell never ever at any time cuts the legs out from under Montgomery the way Harlow does to Taylor. For those of you who actually like this film, I suggest you see, 'Man In Possession' and your eyes will be opened.
It's a shame
cnb29 January 2008
Too bad the Hays Code prevented this remake of "The Man in Possession" (1931) from being as saucy as the original, especially because there is some nice sexual tension between Jean Harlow and Robert Taylor here. Then, too, this version seems a bit padded, as if the writers or director decided that the film required more characters, more elaborate sets, more dialogue (sometimes funny, sometimes rather unnecessary) and a slightly more convoluted plot. Somehow it just doesn't gel.
Interestingly, two actors who appeared in MGM's 1931 version play their roles again here: Reginald Owen as the gold-digging prospective bridegroom and brother Claude, and Forrester Harvey as the bailiff. I definitely enjoyed the sexiness of the Robert Montgomery-Irene Purcell version much more, however--see that one, if you can.
Interestingly, two actors who appeared in MGM's 1931 version play their roles again here: Reginald Owen as the gold-digging prospective bridegroom and brother Claude, and Forrester Harvey as the bailiff. I definitely enjoyed the sexiness of the Robert Montgomery-Irene Purcell version much more, however--see that one, if you can.
big stars in an okay story.
ksf-29 November 2023
Pretty big names in this one; jean harlow and robert taylor. The story is a bit convoluted. When ray dabney is released from prison, he is assigned to live in his brother's house to make sure debts are repaid properly. The only problem is that crystal is also living in that house, and happens to be engaged to dabney's brother! So many misunderstandings. Bickering. The usual hate at first site like a fred astair/ginger rogers film. You'll recognize una o'connor, who plays clara. She was always the feisty, overworked maid or housekeeper. It's a good opportunity to see some huge stars in their prime, even if the story isn't so compelling. They would both have much meatier roles. Directed by woody van dyke. Was nominated for two great films... san francisco and thin man. Story based on the play by harold harwood. And a remake of man in possession. Another cursed cast; woody van dyke died young at 53. Harlow died quite young at 26, just three months after this was released! Taylor died at age 57.
Inoffensive property
TheLittleSongbird12 February 2020
Jean Harlow was always a delight and it was truly sad that she died at such a young age with so much more to give, bad performances were rare from her and she even gave performances that were better than the films themselves. Whether Robert Taylor was good or not was dependent on the material, while the attraction is definitely understandable he was variable for personal tastes. Also like some of WS Van Dyke's other films, am especially fond of the first 'The Thin Man'.
All three have done a lot better than 'Personal Property', a watered down and safer "remake" of 'Man of Possession'. While it does need a rewatch, from what can be remembered it was a superior film. Not that 'Personal Property' is a bad film, despite how all of that sounded. Actually found it quite watchable and an inoffensive watch with a good deal that does work, but at the same time it could have been a lot better, had some weak elements, does not see great talent at its very best and could have taken a lot more risks.
There are certainly good things about 'Personal Property'. It looks good, loved the elaborate settings and costumes and the photography avoids being too confined or too distant. The script does have some sparkling moments, with some some nice witty dialogue in parts and some amusing gags. The romantic chemistry between Taylor and Harlow is sweet and charming. Taylor was an unusual choice for a role that would have suited somebody like Cary Grant perfectly, but actually he does very well here and it was great to see him show a lighter touch to usual. He looks dashing too.
Harlow is definitely not at her best here and by her standards this is quite low-key for her, but she is still likeable and has good comic timing. Reginald Owen thoroughly enjoys himself and Una O'Connor does a lot with too little.
Do think though that the story could have been a lot better. It is very flimsy and the silliness goes overboard, especially in some pretty credibility straining (pushed to the limit-worthy). Too much of it feels padded, indicative of too little material stretched out to suit feature length. As a result some of the film was a drag narratively and Van Dyke's sometimes sluggish direction doesn't help things.
Some of the humour is quite corny and for some will induce groans, parts could have done with more spark as well. Too much of the material felt too safe and somewhat bland for something that was crying out for more of a daring approach, held back by being restricted by the production code.
In a nutshell, worth a look but not something to see in a hurry unless if a Harlow or Taylor completest. 6/10
All three have done a lot better than 'Personal Property', a watered down and safer "remake" of 'Man of Possession'. While it does need a rewatch, from what can be remembered it was a superior film. Not that 'Personal Property' is a bad film, despite how all of that sounded. Actually found it quite watchable and an inoffensive watch with a good deal that does work, but at the same time it could have been a lot better, had some weak elements, does not see great talent at its very best and could have taken a lot more risks.
There are certainly good things about 'Personal Property'. It looks good, loved the elaborate settings and costumes and the photography avoids being too confined or too distant. The script does have some sparkling moments, with some some nice witty dialogue in parts and some amusing gags. The romantic chemistry between Taylor and Harlow is sweet and charming. Taylor was an unusual choice for a role that would have suited somebody like Cary Grant perfectly, but actually he does very well here and it was great to see him show a lighter touch to usual. He looks dashing too.
Harlow is definitely not at her best here and by her standards this is quite low-key for her, but she is still likeable and has good comic timing. Reginald Owen thoroughly enjoys himself and Una O'Connor does a lot with too little.
Do think though that the story could have been a lot better. It is very flimsy and the silliness goes overboard, especially in some pretty credibility straining (pushed to the limit-worthy). Too much of it feels padded, indicative of too little material stretched out to suit feature length. As a result some of the film was a drag narratively and Van Dyke's sometimes sluggish direction doesn't help things.
Some of the humour is quite corny and for some will induce groans, parts could have done with more spark as well. Too much of the material felt too safe and somewhat bland for something that was crying out for more of a daring approach, held back by being restricted by the production code.
In a nutshell, worth a look but not something to see in a hurry unless if a Harlow or Taylor completest. 6/10
Many laughs in this Harlow-Taylor comedy-romance
SimonJack19 April 2016
Warning: Spoilers
"Personal Property" is one of the outstanding movies in a small sub-genre of comedy films based around butlers or maids. Some are butlers or maids in the story, but most are characters who must assume the roles for some reason. Most of the comedy comes in those positions. Robert Taylor has that distinction in this film, taking second billing to Jean Harlow. The plot had been used once before -- "Man in Possession" of 1931. But it's not been overused, and here it makes for a wonderful story with an excellent cast in its own right.
Among the many pluses of this film, the dialog is superb. The film is filled with witty and funny lines, especially between the leads. Harlow, as Crystal Wetherby, and Taylor, as Raymond Dabney and Ferguson, have wonderful chemistry. Then there are the antics and hilarious situations. The dinner scenario is one of the funniest such segments in filmdom. Finally, the supporting cast is first-rate with superb performances.
Reginald Owen, as Raymond's brother, Claude Dabney, is the master of "balderdash" on the silver screen. No other actor could puff himself up so absurdly to play the snooty, self-bloated and insulted English snob. Owen is at his best at that in his role here. Forrester Harvey is a delight as Bailiff Herbert Jenkins. And, a perennial favorite as a maid in so many movies of Hollywood's golden age, Una O'Connor adds to the humor. The rest of the cast, with some very eccentric characters, add to the humor and quality of this film.
I must take exception to the comments of a couple of regular IMDb reviewers whom I especially appreciate and respect. I think Robert Taylor is perfectly cast as Raymond Dabney in this film. And, that "Personal Property" is a wonderful comedy and excellent film for Jean Harlow as Cyrstal Wetherby. Here, she is as good as in any other of her comedy films. Just three months after this film's release, Harlow died of blood poisoning caused by kidney failure.
This film clearly shows that Taylor had a flair for comedy. It surprised me some, as it must have many other movie buffs of that time and since then, because we have been so accustomed to seeing Taylor in serious roles -- dramas, love stories, war films and Westerns. Most of these were later in his career. In some roles, I thought he was serious to the point of being droll (i.e., "Waterloo Bridge" in 1940 and D-Day the Sixth of June" in 1956).
Taylor's first comedy/romance was a year earlier before this in "Small Town Girl" with Janet Gaynor. But he had made a name for himself already in some smashing dramatic films, including "Magnificent Obsession" of 1935 and "Camille" of 1936. So, I'm not surprised, as some reviewers are, that Taylor would get the comedy lead in "Personal Property," where it otherwise would seem to be a role made for Franchot Tone, Ray Milland, or even Melvyn Douglas or Fred MacMurray. No doubt, Louis B. Mayer was trying his rising leading male actor in different venues to see how high his star might rise. And, it continued to rise with this film.
Still, Taylor made only a few comedy films after this. "Lucky Night" in 1939 with Myrna Loy was a drama-comedy. Neither it, nor "Remember?" of that same year scored as well. So MGM may have decided to keep their handsome male lead in dramas, romances, war, mystery and Western films - all of which he did quite well. The only other comedy Taylor would make that would have some success was "Many Rivers to Cross" in 1955 with Eleanor Powell. But a number of great dramas would follow ("Quo Vadis" in 1951, "Ivanhoe" and "Above and Beyond" in 1952, "Saddle the Wind" of 1958, "Miracle of the White Stallions" of 1963 and others).
This film has some hilarious scenes. In a couple, Taylor serves as a sheriff's assistant for a bailiff with a big bill for Mrs. Wetherby. In another couple, he is the Wetherby butler to the dismay of his family who are dumbfounded. He brings out the best (in acting) of his brother, Claude, in this role.
One aspect of Taylor's being adept at comedy that shows here is his bringing out the best of the comedy in other characters. Barnett Parker plays a pompous highbrow by the name of Arthur 'Trevy' Trevelyan. His nose is so high in the air, that he just mumbles his name to Raymond who is playing the butler, Ferguson. Ferguson announces him as closely as possible, and everyone knows who he is right away. It's hilarious to see Taylor announce him: "Fooh fu Fo Fon Fu."
Crystal and Raymond are romantically on and off toward each other, with some very funny lines. As she's going upstairs to find the butler's uniform, Crystal says, "And while we're on the subject, just what did they send you to jail for?" Raymond, "Murder!" Crystal, "Well, I wish it had been suicide."
This is a fine comedy romance that I think the whole family will enjoy. There are just enough antics to amuse young children and keep them interested as well. Of course, we older children can enjoy it for all the comedy, romance, family jousting and many good performances. This is a nice addition to my comedy film library.
Among the many pluses of this film, the dialog is superb. The film is filled with witty and funny lines, especially between the leads. Harlow, as Crystal Wetherby, and Taylor, as Raymond Dabney and Ferguson, have wonderful chemistry. Then there are the antics and hilarious situations. The dinner scenario is one of the funniest such segments in filmdom. Finally, the supporting cast is first-rate with superb performances.
Reginald Owen, as Raymond's brother, Claude Dabney, is the master of "balderdash" on the silver screen. No other actor could puff himself up so absurdly to play the snooty, self-bloated and insulted English snob. Owen is at his best at that in his role here. Forrester Harvey is a delight as Bailiff Herbert Jenkins. And, a perennial favorite as a maid in so many movies of Hollywood's golden age, Una O'Connor adds to the humor. The rest of the cast, with some very eccentric characters, add to the humor and quality of this film.
I must take exception to the comments of a couple of regular IMDb reviewers whom I especially appreciate and respect. I think Robert Taylor is perfectly cast as Raymond Dabney in this film. And, that "Personal Property" is a wonderful comedy and excellent film for Jean Harlow as Cyrstal Wetherby. Here, she is as good as in any other of her comedy films. Just three months after this film's release, Harlow died of blood poisoning caused by kidney failure.
This film clearly shows that Taylor had a flair for comedy. It surprised me some, as it must have many other movie buffs of that time and since then, because we have been so accustomed to seeing Taylor in serious roles -- dramas, love stories, war films and Westerns. Most of these were later in his career. In some roles, I thought he was serious to the point of being droll (i.e., "Waterloo Bridge" in 1940 and D-Day the Sixth of June" in 1956).
Taylor's first comedy/romance was a year earlier before this in "Small Town Girl" with Janet Gaynor. But he had made a name for himself already in some smashing dramatic films, including "Magnificent Obsession" of 1935 and "Camille" of 1936. So, I'm not surprised, as some reviewers are, that Taylor would get the comedy lead in "Personal Property," where it otherwise would seem to be a role made for Franchot Tone, Ray Milland, or even Melvyn Douglas or Fred MacMurray. No doubt, Louis B. Mayer was trying his rising leading male actor in different venues to see how high his star might rise. And, it continued to rise with this film.
Still, Taylor made only a few comedy films after this. "Lucky Night" in 1939 with Myrna Loy was a drama-comedy. Neither it, nor "Remember?" of that same year scored as well. So MGM may have decided to keep their handsome male lead in dramas, romances, war, mystery and Western films - all of which he did quite well. The only other comedy Taylor would make that would have some success was "Many Rivers to Cross" in 1955 with Eleanor Powell. But a number of great dramas would follow ("Quo Vadis" in 1951, "Ivanhoe" and "Above and Beyond" in 1952, "Saddle the Wind" of 1958, "Miracle of the White Stallions" of 1963 and others).
This film has some hilarious scenes. In a couple, Taylor serves as a sheriff's assistant for a bailiff with a big bill for Mrs. Wetherby. In another couple, he is the Wetherby butler to the dismay of his family who are dumbfounded. He brings out the best (in acting) of his brother, Claude, in this role.
One aspect of Taylor's being adept at comedy that shows here is his bringing out the best of the comedy in other characters. Barnett Parker plays a pompous highbrow by the name of Arthur 'Trevy' Trevelyan. His nose is so high in the air, that he just mumbles his name to Raymond who is playing the butler, Ferguson. Ferguson announces him as closely as possible, and everyone knows who he is right away. It's hilarious to see Taylor announce him: "Fooh fu Fo Fon Fu."
Crystal and Raymond are romantically on and off toward each other, with some very funny lines. As she's going upstairs to find the butler's uniform, Crystal says, "And while we're on the subject, just what did they send you to jail for?" Raymond, "Murder!" Crystal, "Well, I wish it had been suicide."
This is a fine comedy romance that I think the whole family will enjoy. There are just enough antics to amuse young children and keep them interested as well. Of course, we older children can enjoy it for all the comedy, romance, family jousting and many good performances. This is a nice addition to my comedy film library.
Strains credulity
vincentlynch-moonoi20 November 2017
Warning: Spoilers
I was looking forward to watching this film, because I have come to appreciate more Robert Taylor's films, and more recently enjoyed several of Jean Harlow's films. But, at least to me, the situation or "set up" for this film was way too contrived to be believable. I just don't believe that even the basic situation -- that a man would be required to live in a woman's house under these circumstances -- is just beyond belief.
I have no complaint about the performances. Taylor was good in light comedy. I did think -- as another reviewer mentioned -- that Harlow was a bit heavy handed here. However, the chemistry works, even if (at least for me) the plot didn't. Throw in some old reliables -- Reginald Owen, the delightful Una O'Connor, and Cora Witherspoon, and you have the ingredients for a good comedy...except it didn't pan out.
I don't recommend this film. Both leads have far better fare you can select from.
I have no complaint about the performances. Taylor was good in light comedy. I did think -- as another reviewer mentioned -- that Harlow was a bit heavy handed here. However, the chemistry works, even if (at least for me) the plot didn't. Throw in some old reliables -- Reginald Owen, the delightful Una O'Connor, and Cora Witherspoon, and you have the ingredients for a good comedy...except it didn't pan out.
I don't recommend this film. Both leads have far better fare you can select from.
Robert Taylor at his best!
JohnHowardReid28 February 2018
Warning: Spoilers
Copyright 15 March 1937 by Metro-Goldwyn-Mayer Corp. New York opening at the Capitol: 15 April 1937. U.S. release: 19 March 1937. 84 minutes. (An excellent DVD from Warner Archive).
SYNOPSIS: The scene is England, and Miss Harlow is an American widow who is in financial straits. Taylor plays an irresponsible playboy of good family who gets into trouble for selling a car he didn't own and is disowned by his family, including father E. E. Clive and brother Reginald Owen, who consider him hopelessly and irredeemably shiftless. Taylor accepts a sheriff's offer to watch the house and furnishings of widow Harlow to make sure she moves nothing.
COMMENT: High-grade upper-crust comedy, with the cast in fine form, under the expert direction of W.S. Van Dyke. Harlow is given several opportunities as a comic impersonator and acquits herself well. The accent is much more on her ability as a comedienne than on her physical charms, which, if anything, are under-emphasised - although cinematographer William Daniels does give her some attractive close-ups, he also treats us to an equal number of unflattering angles. Similarly, although she has a good wardrobe by Dolly Tree, she slops around for a good deal of footage in an unrevealing bathrobe. And Marla Shelton, at her first appearance wears a more gorgeous gown than any Harlow puts on. Also Harlow's brunette hair is not as alluring as her platinum blonde tresses were.
Oddly, therefore, it is not Harlow but Robert Taylor who walks away with the film's acting honors. Harwood's play is a typical comedy of manners, its storyline slight but long on co-incidence, its chucklesome but one-joke plot fleshed out with a host of captivating and wonderfully quirky characters. Yet, though surrounded by such scene-stealing stalwarts as Reginald Owen as the blustering brother, E.E. Clive as his nervous nellie dad and Una O'Connor as a quarrelsome slavey (not to mention Forrester Harvey's punctilious bailiff, Billy Bevan's adroit waiter and Barnett Parker's unintelligible lounge lizard), Taylor is completely unfazed, delivering a professional performance that is at once suave, sophisticated, charming and wholly likable.
Incidentally, Harwood's play was previously filmed by M-G-M in 1931 under its original title. Robert Montgomery had the Taylor role, whilst Irene Purcell enjoyed the Harlow innings and Charlotte Greenwood impersonated the cook-of-all-work. Cast in the same roles in both versions were Reginald Owen and Forrester Harvey. The 1931 picture was directed by Sam Wood from a screenplay by Sarah Y. Mason, with additional dialogue by P.G. Wodehouse.
SYNOPSIS: The scene is England, and Miss Harlow is an American widow who is in financial straits. Taylor plays an irresponsible playboy of good family who gets into trouble for selling a car he didn't own and is disowned by his family, including father E. E. Clive and brother Reginald Owen, who consider him hopelessly and irredeemably shiftless. Taylor accepts a sheriff's offer to watch the house and furnishings of widow Harlow to make sure she moves nothing.
COMMENT: High-grade upper-crust comedy, with the cast in fine form, under the expert direction of W.S. Van Dyke. Harlow is given several opportunities as a comic impersonator and acquits herself well. The accent is much more on her ability as a comedienne than on her physical charms, which, if anything, are under-emphasised - although cinematographer William Daniels does give her some attractive close-ups, he also treats us to an equal number of unflattering angles. Similarly, although she has a good wardrobe by Dolly Tree, she slops around for a good deal of footage in an unrevealing bathrobe. And Marla Shelton, at her first appearance wears a more gorgeous gown than any Harlow puts on. Also Harlow's brunette hair is not as alluring as her platinum blonde tresses were.
Oddly, therefore, it is not Harlow but Robert Taylor who walks away with the film's acting honors. Harwood's play is a typical comedy of manners, its storyline slight but long on co-incidence, its chucklesome but one-joke plot fleshed out with a host of captivating and wonderfully quirky characters. Yet, though surrounded by such scene-stealing stalwarts as Reginald Owen as the blustering brother, E.E. Clive as his nervous nellie dad and Una O'Connor as a quarrelsome slavey (not to mention Forrester Harvey's punctilious bailiff, Billy Bevan's adroit waiter and Barnett Parker's unintelligible lounge lizard), Taylor is completely unfazed, delivering a professional performance that is at once suave, sophisticated, charming and wholly likable.
Incidentally, Harwood's play was previously filmed by M-G-M in 1931 under its original title. Robert Montgomery had the Taylor role, whilst Irene Purcell enjoyed the Harlow innings and Charlotte Greenwood impersonated the cook-of-all-work. Cast in the same roles in both versions were Reginald Owen and Forrester Harvey. The 1931 picture was directed by Sam Wood from a screenplay by Sarah Y. Mason, with additional dialogue by P.G. Wodehouse.
personal property
mossgrymk1 November 2020
Maybe if this were a better (i.e. funnier) film I would suspend the ol disbelief when Bob Taylor's very Nebraska accent purports to be from freakin London! I'm thinking that perhaps it was performances like this that got Americans not named Streep or Zellweger banned from British cinema post 1970. Harlow's better than Bob but not even she can save this creaky turkey. C minus.
The first movie i have ever seen with Harlow and Taylor
jackmagicjck25 April 2005
This was the first time i ever got a chance to see Jean Harlow or Robert Taylor in a movie. I've seen photographs of them of course but never actually seeing any of their films i simply assumed them to be overrated. Seeing Jean Harlow's still photo i imagined her to be some overrated dumb blonde. I thought she was pretty but never understood why exactly she was so famous. As well as Robert Taylor, i will agree with the last commentator in saying "What A Hottie!", i always though he was incredibly handsome but never understood what the big deal about him was. Well actually i did see a little part of Jean Harlow in the movie "Reckless" and i thought it was terrible. I've always thought she was a tiny bit overrated. However my opinions about both of them changed after i saw this film. They were both so lovable, and animated. I never expected it from them. I particularly love the scene where Taylor's character insists on sleeping in the upstairs guest room and Jean Harlow tries to scare him downstairs by pretending to be her husband by walking up the stairs in a big pair of clunky boots. I unfortunately did not get to finish the entire movie. After the stair-climbing scene it did seem to slow down a little bit but it was just such an enjoyable romantic comedy. I really must say that Harlow and Taylor were both very gifted performers. By the way s it me or does Harlow's hair seem darker than usual? Whenever i saw her she seemed to have bright blonde, hair and in this movie it seems to look a little different at first. As for the movie itself it is not necessarily on the same level as say "It Happened One Night", but for those of you who have never seen a picture with Jean Harlow or Robert Taylor i recommend this one so these two gifted performers can share there gifts with you.
Wit, Wit, and More Wit...Completely, Total Fun!
kindtxgal14 August 2016
Warning: Spoilers
Female Dinner Guest: "What is your line, Mr. Dabney?" Mr. Dabney: "I'm in lady's underwear." Dabney's Father: "...We're both in ladies' underwear." and further discussions about (ahem) BVDs (boys' ventilated drawers).
But a few excerpts (no spoilers) of the kind of witticism threading throughout this very delightful film starring Jean Harlow, Robert Taylor, and a fantastic supporting British cast.
Harlow plays an American girl who marries an alleged wealthy Englishman and gets stuck with the bill so to speak. Robert Taylor is a prodigal son type that is denounced by his well-to-do family. Taylor and Harlow meet and sparks of wit pour over the silver screen from opening to closing credit.
Truly a delightful, fun, completely whimsical, happy encounter with a wide range of comedic actors and star performances by Taylor and Harlow, particularly, in my opinion, Robert Taylor.
Enjoy!
But a few excerpts (no spoilers) of the kind of witticism threading throughout this very delightful film starring Jean Harlow, Robert Taylor, and a fantastic supporting British cast.
Harlow plays an American girl who marries an alleged wealthy Englishman and gets stuck with the bill so to speak. Robert Taylor is a prodigal son type that is denounced by his well-to-do family. Taylor and Harlow meet and sparks of wit pour over the silver screen from opening to closing credit.
Truly a delightful, fun, completely whimsical, happy encounter with a wide range of comedic actors and star performances by Taylor and Harlow, particularly, in my opinion, Robert Taylor.
Enjoy!
Watered Down Harlow
Michael_Elliott25 February 2008
Personal Property (1937)
** (out of 4)
Robert Taylor gets a job for the sheriff and his first case is babysitting for a rich woman (Jean Harlow) who recently lost her husband. This film is a remake of the 1931 movie The Man in Possession but since I haven't seen that one I can't compare the two. From what I've read this version was watered down due to the Hayes Code and that comes off true watching the film because Harlow's sexuality tries to get displayed but the screenplay keeps it at a distance. Another problem in the screenplay is that it comes off rather lazy and doesn't feature anything very original or funny for that matter. The whole joke in the second half has Taylor acting as the Butler and we get several childish jokes, which just don't work. Harlow sleepwalks through her role but then again she isn't given too much to do. Taylor doesn't come off any better and Una O'Connor is wasted in her role.
** (out of 4)
Robert Taylor gets a job for the sheriff and his first case is babysitting for a rich woman (Jean Harlow) who recently lost her husband. This film is a remake of the 1931 movie The Man in Possession but since I haven't seen that one I can't compare the two. From what I've read this version was watered down due to the Hayes Code and that comes off true watching the film because Harlow's sexuality tries to get displayed but the screenplay keeps it at a distance. Another problem in the screenplay is that it comes off rather lazy and doesn't feature anything very original or funny for that matter. The whole joke in the second half has Taylor acting as the Butler and we get several childish jokes, which just don't work. Harlow sleepwalks through her role but then again she isn't given too much to do. Taylor doesn't come off any better and Una O'Connor is wasted in her role.
***
edwagreen11 March 2016
Warning: Spoilers
Film showed that both Harlow and Robert Taylor could be pretty adept at comedy.
Of course, it seemed strange that Taylor, with his American drawl, could be part of a British family, but I guess that this just adds to this 1937 comedy which was probably of Jean Harlow's last pictures.
A free-spirited Taylor out of jail lands a position to collect money owed by Harlow who is engaged to marry his brother. Fact remains that both Harlow and her fiancé are marrying each other for their supposed money when in fact, both are very much broke. The fact that Taylor is the brother to the fiancé is unknown and you can imagine when his family arrives at her home for dinner and sees him as the butler known as Ferguson.
The home is filled with an array of party guests who are quite memorable.
Of course, it seemed strange that Taylor, with his American drawl, could be part of a British family, but I guess that this just adds to this 1937 comedy which was probably of Jean Harlow's last pictures.
A free-spirited Taylor out of jail lands a position to collect money owed by Harlow who is engaged to marry his brother. Fact remains that both Harlow and her fiancé are marrying each other for their supposed money when in fact, both are very much broke. The fact that Taylor is the brother to the fiancé is unknown and you can imagine when his family arrives at her home for dinner and sees him as the butler known as Ferguson.
The home is filled with an array of party guests who are quite memorable.
See also
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