6.2/10
43
5 user 1 critic

Honey (1930)

Passed | | Comedy, Musical | 29 March 1930 (USA)
A once-wealthy sister and brother rent out their Southern mansion and stay on as cook and butler.

Director:

Wesley Ruggles

Writers:

Alice Duer Miller (book), A.E. Thomas (play) | 2 more credits »
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Cast

Cast overview:
Nancy Carroll ... Olivia Dangerfield
Harry Green ... J. William Burnstein
Lillian Roth ... Cora Falkner
Richard 'Skeets' Gallagher ... Charles Dangerfield
Stanley Smith ... Burton Crane
Mitzi Green ... Doris
Zasu Pitts ... Mayme
Jobyna Howland ... Mrs. Falkner
Charles Sellon ... Randolph Weeks
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Storyline

A once-wealthy sister and brother rent out their Southern mansion and stay on as cook and butler. Written by Determined Copy Editor

Plot Summary | Add Synopsis

Plot Keywords:

based on play | based on book | See All (2) »

Taglines:

MATCHLESS MUSICAL MERRIMENT! Hear: "In My Little Hope Chest"..."I Don't Need Atmosphere"..."Sing You Sinners"...and "Let's Be Domestic" (original poster) See more »

Genres:

Comedy | Musical

Certificate:

Passed
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Details

Country:

USA

Language:

English

Release Date:

29 March 1930 (USA) See more »

Also Known As:

Honey: A Musical Farce See more »

Company Credits

Production Co:

Paramount Pictures See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono (MovieTone)

Aspect Ratio:

1.20 : 1
See full technical specs »
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Did You Know?

Trivia

The song "Sing You Sinners," which became a huge hit after it's inclusion in this film, was inspired when lyricist Sam Coslow attended a religious revival meeting with some friends. See more »

Connections

Version of Come Out of the Pantry (1935) See more »

Soundtracks

I Don't Need Atmosphere (to Fall in Love With You)
Written by W. Franke Harling and Sam Coslow
Sung by Stanley Smith and Nancy Carroll
Later sung by Richard 'Skeets' Gallagher and Lillian Roth
See more »

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User Reviews

 
What was wrong with males ?
26 May 2019 | by sb-47-608737See all my reviews

This movie, as mentioned in one of the reviews, had good possibilities, and unlike many other movies of this duration, the pacing too wasn't bad.

To be frank, it is quite watchable. But, while watching it, I started to wonder.

All the female leads in the movie had been good or may be a bit more than plain good - especially the three major leads, Nancy, Roth and Jobyna. The other two females too - Zasu and Mitzi lived up to the characters - despite extremely irritating characters assigned to them. But it miserably failed in male leads - both Stanley Smith and Skeets Galagher. They were not only wooden, but completely 'unnatural'. Only Harry Green could save the gender blushes.

It made me wonder - about the gender gap on those ages - Not only these two, but the super-stars - e.g. Pickford, Gish, Garbo,... - I could almost say most of the women were - knowingly or unknowingly, using at least part of Stanislavski's method. But what was wrong with the men ? I don't remember any, who was using something remotely similar (may be except Keaton, sometime, probably aided by his blank-demeanor) ? Every one, including Mr Pickford (i.e. Fairbanks) continued to do exaggerated acting. It was another couple of years (after this movie that is) when it slowly followed women's foot-steps and started getting naturalised - but most of them had entered the arena in the talkie era.

Was it the type of roles which forced the two different schools across gender - the basically maudlin/ melodramatic roles for women, which needed subtlety vs the cave-man/ San and Sword type of roles of males - that needed excess limb-muscles and less face-muscle exercise ? In this movie of course they were at disadvantage - there was not much scope of limb-muscle exercise, and that could be seen by the stiffness - even while walking. And looking back, I saw that in a few major silent stars - in talkie era - e.g. Gilbert - where it wasn't dialogue delivery or even the voice spectrum, but rather the extra real acting effort required in talkies - through facial expressions, that must have failed him. Probably that's why only limited male silents succeeded in talkie, but many women did and relatively one could say thrived too for quite some time (not only Gish and Garbo, but Shearer, Crawford etc several names come to mind, who didn't become sore to senses).


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