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Terry Randall, rich society beauty, has decided to see if she can break into the Broadway theatre scene without her family connections. She goes to live in a theatrical boarding house and finds her life caught up with those of the other inmates and the ever-present disappointment that theatrical hopefuls must live with. Her smart-mouth roommate, Jean, is approached by a powerful producer for more than just a role. And Terry's father has decided to give her career the shove by backing a production for her to star in, in which she's sure to flop. But his machinations hurt more than just Terry. Written by
In an interview in Hollywood the Golden Years: The RKO Story (1987), Katharine Hepburn relates that she was upset that she was given the diminished role of a character that she felt was pointless to the script. Hepburn asked director Gregory La Cava what was the essential point of her character. He responded "She is the human question mark." She then asked what that meant, and he replied "____ damned if I know!" See more »
The band at Club Grotto, where Jean and Annie perform a dance number, includes a female vocalist who can be seen singing in the background, but no vocals are heard on the soundtrack. See more »
[With a superior air, leaving the crowded living room of girls after many snappy wisecracks and lively banter among the group]
It'd be a terrific innovation if you could get your minds stretched a little further than the next wisecrack.
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It's a brilliant way to spend a couple of hours: where else would you get an all-star cast that would make your jaw drop today (Katharine Hepburn, Ginger Rogers, Lucille Ball, Eve Arden, Ann Miller etc. etc.), and a clever, witty script played to the hilt by the astounding cast?
The story is fairly simple: Terry Randall (Hepburn) moves into the Footlights Club to begin her career as an actress. Viewed as an odd cookie by the rest of the girls, her room-mate Jean (Rogers) especially, she starts to win them over until she wins the part belonging to Kaye (Andrea Leeds). Not wins, so much as given. It takes a tragedy to turn Terry into the actress she could be, and the friend she eventually becomes as she remains in the Footlights Club.
This film benefits from a truly amazing cast: Hepburn is glorious as Terry, an independent, in-your-face girl from the upper class, unsure why she's not liked by her new friends as she blithely (and unknowingly) talks down to them; but fiercely loyal and protective of them nonetheless. Witness Terry's outburst in Powell's office, or the way she puts Jean, much the worse for wine, to bed. Hepburn is truly great in her emotional scenes, when she is called to perform on stage despite the revelation she's received just beforehand.
Hepburn alone doesn't make the movie though (as she eventually does in lesser vehicles with less worthy co-stars). Ginger Rogers as Jean is a breath of fresh air. She's quirky, charming, and just generally appealing in her role, playing Jean with a wonderful confidence that bodes well for the character. You warm to Jean immediately. I love Rogers' drunken scenes with Menjou--ditzy yet sweet.
The supporting cast is fantastic as well, Lucille Ball never missing a chance to steal a scene or make a quip, Eve Arden fast on her heels. Andrea Leeds overacts a little, I think, but is generally good in her demanding role as Kaye--she does an excellent job on the staircase towards the end of the movie.
Absolutely A+. Everything Hollywood should be, was, and now isn't.
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