Madame Helene Smith operates a swanky salon for renovations of women's faces and bodies, with her partner Mazie Mason who grew up with Helene on New York's not-so-swank Tenth Avenue. Mazie is in love with newspaper columnist Terry Kent, who frequents the place for juicy items as the salon is a gathering place for the town's rich and near-rich ladies. Terry calls it a "scandal house" and, if he had known the title would be changed to "Slander House" before release, would have deemed it as such. Upper-crust Doctor Herbert Stallings, with mandatory pencil mustache, is in love with Helene, who isn't all that taken with him. Enter Ruth DeMilo, statuesque showgirl and gold-digger de luxe, quickly followed by Pat Fenton, dashing young man-about-town, who sees and quickly falls in love with Helene, despite the fact she uses Madame as a title. He takes her to a cabaret where she is insulted by Fenton's attorney, George Horton, who tells her that Fenton, the cad, has hired him to check her ... Written by
Les Adams <email@example.com>
Although Alpha's DVD informs us that "some sound and picture anomalies exist" on their print, I didn't notice any. In fact it's very attractively photographed by Mil Andersen. Aside from two or three full-face close-ups, Adrienne Ames looks really beautiful, She also delivers a convincing performance which considering the unconvincing screenplay ranks as quite an achievement. The fly in the ointment both in fact and in the film is a breezy, over self-confident "hero" in Craig Reynolds whom the script favors over George Meeker. I'll admit that George is not usually a young girl's fancy, but helped by the script here, he plays his role with a quite convincing charisma. Reynolds, on the other hand, comes over either as a brash, overly self-confident phony or simply as an undesirable pest. Fortunately, when it can tear itself away from our heroine's romantic entanglements, the script does manage a satiric look at the "beauty" business and the mature women gulled into spending a fortune in vain efforts to recapture their youthful attractiveness. And by his usual rather humble standards, Charles Lamont's direction is surprisingly slick.
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