A young woman, sexually exploited all her life, decides to turn the tables and exploit the hapless men at a big city bank - by gleefully sleeping her way to the top.
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Title: Baby Face (1933)
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Edit
Cast
| Complete credited cast: | |||
| Barbara Stanwyck | ... | Lily | |
| George Brent | ... | Trenholm | |
| Donald Cook | ... | Stevens | |
| Alphonse Ethier | ... | Cragg | |
| Henry Kolker | ... | Carter | |
| Margaret Lindsay | ... | Ann Carter | |
| Arthur Hohl | ... | Ed Sipple | |
| John Wayne | ... | Jimmy McCoy Jr. | |
| Robert Barrat | ... | Nick Powers | |
| Douglass Dumbrille | ... | Brody (as Douglas Dumbrille) | |
| Theresa Harris | ... | Chico | |
Edit
Plot Summary
|
Add Synopsis
See All (132) »
Storyline
Lilly (Baby Face) sleeps her way from basement speakeasy bartender, literally floor by floor, to the top floor of a New York office building. Bank sub-manager Jimmy McCoy finds her a job in the bank only to be cast aside as she hooks up with the bank's president. When he complains of not seeing her she says: "I'm working so hard I have to go to bed early every night." Written by Ed Stephan <stephan@cc.wwu.edu>
Plot Keywords:
cult film | national film registry | looking out a window | black american | african american |Taglines:
She had "IT" and made "IT" pay! See more »Parents Guide:
View content advisory »
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See more on IMDbPro »
See full technical specs »
Details
Country:
USARelease Date:
17 November 1933 (France) See more »Also Known As:
A Mulher que Nos Perde See more »Filming Locations:
Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, USAEdit
Box Office
Budget:
$187,000 (estimated)Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
| (restored) | (uncut)Sound Mix:
MonoColor:
Black and WhiteAspect Ratio:
1.37 : 1
Edit
Ed Sipple: What's a matter? You gettin' particular?
Lily Powers: Maybe I am. Did you ever take a good look at yourself?
Ed Sipple: Yeah, you're exclusive, *you* are! The sweetheart of the night shift. Come on, you're wastin' my time. Everybody knows about you.
Lily Powers: Yeah, well you ain't going to!
See more »
(1910) (uncredited)
Music by Leo Friedman
Played on a player piano in Powers' speakeasy
See more »
Did You Know?
Trivia
Originally banned in some US cities due to its sexual innuendo. See more »Goofs
After Mr. Carter stays the night, Lily gets out of a car. There is a reflection of faces on the window of the car as it pulls away. See more »Quotes
Lily Powers: [Ed walks into Lily's bedroom] You haul your freight outta here.Ed Sipple: What's a matter? You gettin' particular?
Lily Powers: Maybe I am. Did you ever take a good look at yourself?
Ed Sipple: Yeah, you're exclusive, *you* are! The sweetheart of the night shift. Come on, you're wastin' my time. Everybody knows about you.
Lily Powers: Yeah, well you ain't going to!
See more »
Alternate Versions
The Bowdlerized release version also has a final scene tacked on, which tells how the heroine learned to be content with a more modest lifestyle. This scene is happily removed from the restored version. See more »Soundtracks
Let Me Call You Sweetheart(1910) (uncredited)
Music by Leo Friedman
Played on a player piano in Powers' speakeasy
See more »
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Arriving by boxcar in New York City, the shrewd young woman with the BABY FACE begins to methodically canoodle her way to the top floors of power in a great bank.
Barbara Stanwyck is fascinating as the amoral heroine of this influential pre-Code drama. Without a shred of decency or regret, she coolly manipulates the removal or destruction of the men unlucky enough to find themselves in her way. A wonderful actress, Stanwyck has full opportunity here to display her ample talents.
Appearing quite late in the story, George Brent is a welcome addition as the one fellow possibly able to handle Stanwyck; his sophisticated style of acting makes a nice counterpoint to her icy demeanor. Douglas Dumbrille, Donald Cook & Henry Kolker portray a succession of her unfortunate victims.
John Wayne appears for just a few scant seconds as an unsuccessful suitor for Stanwyck's affections. This would be the only time these two performers appeared together on screen.
Movie mavens should recognize Nat Pendleton as a speakeasy customer, and Charles Sellon & Edward Van Sloan as bank executives - all unbilled.
The music heard on the soundtrack throughout the film, perfectly punctuating the plot, is Baby Face' (1926) by Benny Davis & Harry Akst and St. Louis Blues' (1914) by W.C. Handy.
BABY FACE is a prime example of pre-Code naughtiness. In its frank & unapologetic dealing with sex, it is precisely the kind of film which the implementation of the Production Code in 1934 was meant to eliminate.