Aldo is on the Run

James Vanning (Aldo Ray) goes into a Los Angeles bar for a drink, where he is approached by Marie Gardner (Anne Bancroft). She's got a problem - she was meeting a girlfriend for a drink and walked off without her wallet; would Jim loan her a small amount of money to pay for the drink she purchased? Jim agrees to help her; they strike up a conversation and decide to dine together. When they leave the restaurant, Jim is kidnapped by two criminals, John (Brian Keith) and Red (Rudy Bond), who plan to torture him for the location of something. We're going to discuss Nightfall (1957).

When I attend Noir City DC, I  try to select some films I've never seen before - sometimes ones I've never even heard of. This picture fell into the latter category. I openly confess to not being a particular fan of Aldo Ray, but after seeing this film, my opinion of his acting abilities has soared upward. Mr. Ray is both engaging and sympathetic as a man on the run both from the gangsters that want him to reveal the location of stolen funds, and from the police who believe he has committed a murder.

This was by no means Anne Bancroft's first appearance - she'd started in television, and made her big screen debut with Marilyn Monroe and Richard Widmark in Don't Bother to Knock (1952). She makes a lovely addition to Nightfall, appearing as a mannequin (modeling gowns created by fashion director Winifred Waring (AFI catalog)) at a local couture house, who becomes romantically involved with Jim.  In a sense, as is pointed out in this TCM article, the character is somewhat unnecessary to the story line, but she is so very engaging that you really don't notice. 

Brian Keith plays a truly despicable villain, though he's not nearly as bad as his murderous colleague, played with appropriate madness by Rudy Bond. Mr. Keith's calm delivery emphasizes how truly heinous John is. He commits murder with the ease of putting on a jacket. There is no guilt or emotion - it is just a task that he must perform.

It's always a pleasure to see Frank Albertson, here playing Dr. Edward Gurston, Jim's (or Art Rayburn; James Vanning is a pseudonym) best friend and camping partner. It's a small part, but he is, as always, enjoyable.Though he is only present for a few scenes, his character is crucial to the actions that follow, and his presence is felt through out the film.

Early in the film, we are introduced to Ben Fraser (James Gregory) and his wife, Laura (Jocelyn Brando). Their relationship is lovely - their marriage is obviously strong, and they are not afraid to tease one another about his job. James Gregory presents a man who is good at his job, and is also scrupulously honest. Though the authorities suspect Jim of robbery and murder, Ben has his doubts, based only on observation and a brief conversation between the two men. Ben's trust in Jim becomes a key factor as the plot thickens.

James Gregory started his acting career in New York (he was born in the Bronx and raised in New Rochelle) in the Broadway production of Key Largo. He would appear in 14 Broadway productions during his lifetime. After a three-year Navy stint, he did more theatre and radio - his distinctive, gravelly voice made him a natural. His first film role was as a police officer in The Naked City (1948); he's probably best remembered for his role as Senator Iselin in The Manchurian Candidate (1962). He found a home guest starring in television series, including Star Trek, The Big Valley,  Hawaii Five-O, and Barney Miller, where he had a recurring part as Inspector Frank Luger. He retired in 1986, and lived with his wife of 58 years until his death at the age of 90 in 2002.

Director Jacques Tourneur  was no stranger to film noir - he'd already directed Out of the Past (1947), perhaps the penultimate film noir. Since then, attitudes towards television had changed, and the filmmakers, who had originally ignored it, realized the TV was another venue for their films after the screen time was over. However, noir's grey-shaded cinematography did not show up well on 1950s b&w televisions. The films looked muddy. So, Mr. Tourneur brought in cinematographer Burnett Guffey to create a look that would show more clearly on early TV sets (PaleyFest). This included moving the film from Los Angeles, where it opened, to the mountains of Wyoming. The result - the film becomes truly black and white - with the stark, white mountains and snow-covered fields, contrasting with the  dark trees and water. It's a beautiful piece of work.

The New York Times review was dismissive, though the reviewer complimented the actors on a job well done (he's particularly impressed with Brian Keith and James Gregory - I agree).  The evaluation of the film has changed in recent years, as is evidenced by this Huffington Post article, calling it "work of striking juxtapositions and tones that by picture end, come off like an unforgettably disarming person — you’re charmed, discombobulated, even slightly disturbed, and you’re not sure what to make of it all. You just know you like it, no matter how bizarre it all ends up."

I heartily recommend you look for this film - I think you will enjoy it. In the meantime, here is a trailer:

Aline is Kind

Mary Herries (Aline MacMahon) is a wealthy woman with an impressive art collection, and a desire to live in solitude. She has family and friends who visit occasionally, but is quite happy being on her own. She is also a Kind Lady (1935) and finds it hard to resist helping those in need. When street artist Henry Abbott (Basil Rathbone) appears at her doorstep with a sob story, she invites him in for some hot tea and a sandwich, gives him some money, and a warm coat for his wife. It's not long before Abbott reappears, this time with wife Ada (Justine Chase) in tow, and wheedles his way back into the house. But is he as innocuous as he puts on?

This is a suspenseful yarn that reminded us of the equally chilling My Name is Julia Ross. Both films focus on a strong female lead being preyed upon by strangers - attempting to mold the heroine to their desires.  The story is unsettling - though it's not in any way gory, it's a tale that keeps you on the edge of your seat fearing for the safety of Mary Herries.

With Aline MacMahon heading the cast, you know you can't go wrong. She's playing a woman much older than her years - when the play opened on Broadway in 1935, it starred Grace George as Mary. Ms.George was 56 at the time (Ms.George would also play the part on Broadway in a 1940 revival); Ms. McMahon is 20 years younger when she took the part of a woman we know is well into her 50s. Ms. MacMahon brings a determination to the part that makes the audience root for her. Sure, she is a softie, but she's not a weakling. She stands up to Abbott on multiple occasions, and never stops trying to get out of his clutches. For an excellent biography of Ms. MacMahon, visit this Filmstruck post.

Which brings us to Basil Rathbone, an actor who can make even the most heinous villain appealing. Watching Mr. Rathbone play the part (which on Broadway was performed by Henry Daniell, another able malefactor) is like watching a spider spin his web - you want to run, but you can't take your eyes from him. One scene towards the middle of the film is impressive - The Doctor (Murray Kinnell, playing a character who makes Abbott look like a saint) informs him of an "accident." Rathbone's reaction spells out his disgust at the event and his realization that all their plans have changed, and become far more deadly.

Rose (Ms. Herries maid) as ably portrayed by Nola Luxford, is a woman who has seen her mistress's sympathies go to people she finds undeserving before. Her distrust of Abbott is evident from the moment she meets him, and Ms. Luxford makes her the only one in the house with the nerve to go to Mary with her concerns. When the film was remade in 1951, the part of Rose would go to Doris Lloyd, who plays Mary's sister Lucy Weston in this version (TCM article).

Frank Albertson (Peter Santard) again gets to play the good guy, as Mary's nephew-in-law-to-be (he is about to marry her niece, Phyllis (Mary Carlisle)). The immediate affection that Mary and Peter have for each other is important to the plot. It's not just that she offers to give the couple one of her prized art works as a wedding gift. Peter is genuinely concerned at Mary's silence and it is his tenacity that brings the film to a satisfactory ending. 

As previously mentioned, the film returned to Broadway in 1940; appearing in the part of Ada was Dorothy McGuire in one of her earliest stage roles.  The 1951 film remake starred Ethel Barrymore and Maurice Evans as Mary and Abbott. The story also made its way to television on two occasions: Ford Theatre (December 1949) starred Fay Bainter and Joseph Schildkraut; and Broadway Television Theatre featured Sylvia Sidney (November 1953) (AFI catalog).

This is an excellent film - certainly worth your viewing. We hope at some point to catch (and discuss) the Ethel Barrymore remake. In the meantime, please consider seeking this one out.

Ann Has a Secret

John Shadwell (John Boles) and Vergie Winters (Ann Harding) were planning to marry, but Vergie's father (Edward Van Sloan) told John that Vergie is instead marrying Hugo McQueen (Creighton Chaney). In pain, John marries Laura Shadwell (Helen Vinson) on the rebound. But Jim Winters had been paid $10,000 to tell the lie, and trick John into the marriage with Laura. Unable to divorce his wife, John visits Vergie on a regular basis, while his political star begins to rise. Our film this week is The Life of Vergie Winters (1934).

Based on Louis Bromfield's short story (AFI catalog), this film is similar to the stories that are told in Forbidden (1932) and Back Street (1932) - a couple whose true love is thwarted by circumstance, but stay together despite the rules of society. And while this is not an original plot, Ann Harding makes Vergie so likable that you don't really care that you know the story. You keep watching just to see her. 

There are class issues regarding Vergie's potential marriage to John which assist the Shadwells' lies; and Laura is eager to marry a man with political possibilities. Vergie, however, is seemingly well regarded (initially) by the community. A milliner with a popular store, her wealthy clientele are friendly with her (albeit only during business hours). When her secret life becomes more public, she loses her society shoppers, but inherits a new customer base, represented by Pearl Turner (Cecil Cunningham), a local madam. Rich or poor, Vergie displays an easy relationship with her customers.

The film also has an interesting "innovation" not a part of the previously mentioned movies. The Life of Vergie Winters uses narratage (New York Times review); the inner monologues of the townpeople at the opening of the film (the film actually begins with John's death and Vergie's imprisonment) serve as a kind of Greek chorus, preparing the audience for the story that is about to unfold. The technique was very reminiscent of the inner monologue in Strange Interlude (1932) and is interesting, if a bit stylized.

Frank Albertson (Ranny Truesdale) is the kind of man every woman wants to marry. His love for Joan Shadwell (Betty Furness) is deep; when the couple discover Joan is adopted, Joan suggests they break the engagement, since her background is so nebulous. Ranny complies - he demands his ring back; then asks for her hand and places the ring back on her finger. No further discussion of the subject is required (much to the disgust of Laura Shadwell). Ranny is a true gentleman, and Mr. Albertson gives him a warmth that makes him very engaging.

Helen Vinson, on the other hand, plays Laura as a opportunistic witch. She has no regard for John; she wants the prestige that his political possibilities will provide and nothing more. It's pretty apparent that the marriage is eventually one of convenience; it's also clear that she has no use for the child that she has taken into her home (the end of the film - without giving much away - substantiates that). Ms. Vinson's career was primarily playing the "other woman." She started on Broadway, appearing in four plays between 1927 and 1932, then went to Hollywood, where she would make 40 films, including Jewel Robbery (1932), I Am a Fugitive from a Chain Gang (1932), and In Name Only (1939). Her final film was The Thin Man Goes Home (1945). Married for the third time to Donald Hardenbrook the following year, she left film at her husband's request. They were married until his death in 1976; Ms. Vinson died in 1999 at the age of 92.

One of the most appealing people in the film is that of Joan. We first see her as a girl of about 11 (played by Bonita Granville). She's an engaging child, kind to Vergie (who she has been told to avoid). The interaction between Ms. Harding and Ms. Granville is touching. The character does not alter as she ages - Betty Furness is lovely as a woman who has somehow stayed a good and loving person, despite being raised by a viper. 

There are a few other actors who should be mentioned - Lon Chaney, Jr. (still listed as Creighton Chaney - his true given name) has a few scenes as Hugo McQueen, the man Vergie's father says she is marrying. Donald Crisp is the villain of the piece as Mike Davey, a local pub owner who despises John. Sara Haden is Winnie Belle, the woman who has set her cap on Vergie's despicable father. Ben Alexander, who would later gain fame as the first of Jack Webb's partners in Dragnet, appears as Laura's brother Barry. And Walter Brennan has a brief scene as a rumor-spreading drunk.

The New York Times review by Mordaunt Hall was indifferent; the film was "important" enough that it opened at Radio City Music Hall. It probably will come as no surprise that the film landed on the Catholic Church's Condemned List, which also helped it to do well at the box office (TCM article).  But, with a release date of June 14, 1934, it's at the end of the pre-code era - the new regulations took effect on July 1st, and would effectively have made this film impossible to release in its current state. So, while it is not the most original of plots, it is handled well, and it's always a pleasure to see Ann Harding at her peak.  We enjoyed it, and think you will as well.

Margaret Hires a Maid

Having not been paid by her employer for four months, housekeeper extraordinaire Lizzie (Ruth Donnelly) quits her job and heads off to an employment agency. She meets Joan Smith (Margaret Lindsay), a young married woman who is searching for a maid. But with her limited income, Joan can't really afford a maid of Lizzie's qualifications. Lizzie, however, is intrigued by Joan and  her son Bobby (Ronnie Crosby), and agrees to take a pay cut to work in the household. Lizzie has a plan to bring Joan and husband Jimmy (Warren Hull) up to her employer standards. This week, we're discussing Personal Maid's Secret (1935).

Every once in a while you fall into a film you've never even heard of, and that provides low expectations.  Personal Maid's Secret is one of them. Originally entitled Living Up to Lizzie, (AFI catalog), it is in fact a delightful little comedy. While the plot is pretty transparent, the acting is so good that you warm to the film almost immediately. Leading the cast (though she got fourth billing) is Ruth Donnelly. Her Lizzie is a practical sort - she leaves her current employment confident that she can secure another position immediately. While she is qualified for a much more well-paid position, she takes on the job with the Smiths because she has a good feeling about them - and because she feels she can help them. Finally Lizzie is a woman with a past - we know it from the start, and when we discover the truth about her, she becomes even more endearing (we wondered if perhaps the film was originally written before the code, as some of the early hints about Lizzie's past suggest a bit of hanky-panky).

Margaret Lindsay gets first billing and is engaging as the young wife trying to help her husband make his way in the world of business. Jimmy is an insurance salesman, and as such, needs contacts. Lizzie suggests to Joan that the best way for Jimmy to get ahead is for the Smith's to entertain. But to do that, they'll need to have a display of affluence. Using her pin money and some ingenuity, Joan is able to get the ball rolling. Ms. Lindsay plays the part with warmth - there is never a suggestion that Jimmy needs to succeed to make her life easier. Their marriage is a partnership, and his success is hers as well.

It's not often that one gets to see Frank Albertson (Kent Fletcher) play a good guy, but he does here, and is quite appealing as Joan's inventor-brother. As with the other characters, there is no hint of grubbiness - Kent lives with his sister because it is expedient for both of them. He is working - and working to develop a new engine carburetor, which he hopes will increase gas mileage. When he becomes enamored of Diana Abercrombie (Anita Louise), you root for him to get the girl. Ms. Louise is lovely as the wealthy young lady whose life is about to change. And it's nice to see Arthur Treacher (Owen) - as always, playing Arthur Treacher!

One 21st Century problem with the film is the character of Bobby. Bobby is fascinated by "colored" people (in the 1930s, "colored" was a polite term. Think of the NAACP). The Smiths had a maid who was African-American at one point, and Bobby clearly adored her. So, he's decided that he wants a friend who is African-American. But what makes his constant queries interesting is that Bobby doesn't really see race - he asks the very white Palmers (Henry O'Neill and Lillian Kemble Cooper) if their son is colored. So, while his questions can be a bit unnerving, it's also an interesting comment on the ability of children to accept regardless of race. The song "You've Got to be Carefully Taught" comes to mind.

Our villain, Warren Sherrill, is convincingly played by Gordon Elliott. If he seems familiar, you might know him from his later career as a Western actor and the role Red Ryder - Will Bill Elliott. Born on a ranch in Missouri, Mr. Elliott came by his Western expertise naturally. He became a horse breeder, and retired to a ranch in Nevada after his retirement. He died in 1965 at the age of 61.

Given that this was a B movie, the set design and costuming are outstanding. The Smith's home needs to reflect their life, and the work done by Carl Jules Weyl are an important part of the story.  Orry-Kelly did the costume design, and, as always, it is impressive.

The film was not widely reviewed, but Variety gave it a very positive review (Wild Bill Elliott: A Complete Filmography by Gene Blottner), as did the Sydney Morning Herald, which complimented Ruth Donnelly for "the warmth with which she plays this part and the perfectlon of the portrait's detail," and said the film itself is" shrewd and humorous and the conversation is so natural that the spectator is able to forget the plot, which contains no surprises." There ARE a couple of slight surprises, though by and large it's a convention plot; but with such fine acting and such appealing characters, you won't care.

We'll leave you with a trailer and a suggestion that you seek this one out.

Clark's in Advertising

Victor Albee Norman (Clark Gable) has just returned to New York City after several years service in the military during World War II. Vic is determined to make up for lost time by getting a job in advertising; but not just any job. He wants a high-paying one. He approaches "Kim" Kimberly (Adolphe Menjou) about employ in his agency, but Kimberly is skeptical. He has a problem client, Evan Llewellyn Evans (Sydney Greenstreet) who takes up much of the firm's time, and the only hiring he might do would be someone that would placate the troublesome Mr. Evans. Vic is quite certain he is that man as he enters the world of The Hucksters (1947)

Having served as an officer in the Army Air Corps during World War II, Clark Gable returned to MGM to appear with Greer Garson in the film Adventure (1945). Advertised with the tag line "Gable's back and Garson's got him", the film proved a disappointment to all. Seemingly, there was little chemistry between the pair. It took two years for MGM to pair Mr. Gable with neophyte Deborah Kerr (Kay Dorrance) ("It rhymes with Star!" said MGM's publicity department), and it doesn't hurt that Mr. Gable also had the superb Ava Gardner (Jean Ogilvie) to bounce off of as well!  This time, MGM's investment paid off, with the film making double the studio's investment.

The Hucksters is a fascinating examination of the world of advertising. Certainly, there are times when its message seems a bit over-the-top, but by and large it paints a picture of the advertising world that would later be echoed in the film The Man in the Grey Flannel Suit (1956) and in the television show Mad Men.   Based on a novel by Frederick Wakeman, the film is a much sanitized version, as Gable was unwilling to play the part as originally written, calling it "filthy and not entertainment." (AFI catalog). For example, Kay in the book was not a widow - she was very much married and Mr. Gable objected to his character having an affair with a married woman.

Even cleaned up, The Hucksters can be a strong indictment of the world of Madison Avenue. Take the character of Kim, and his drunken confession concerning his career's start. Or, the way in which Vic, who is by and large a good man, manipulates Dave Lash (Edward Arnold) to get what he wants. There is no question that life in this world results in a compromise of integrity if one is to succeed.

Though Mr. Gable was initially reluctant to star in the film, he was extremely supportive of his two co-stars once production started. He'd ask that Ms. Kerr do a screen test; obviously, once he saw it, he was more than satisfied - he had six dozen roses awaiting her in her dressing room. Ms. Kerr later stated that "He did everything possible to put me at my ease, and was a man utterly without regard for himself as a film technician, or for his status in movies." (TCM article) He was similarly supportive of Ms. Gardner, who'd had one major role the year before (she'd done a number of films, often uncredited) in The Killers. When Ms. Gardner had to perform in the night club scene (to an audience of no one - all the extras had left for the day), Mr. Gable arrived, sat down in front of her, providing her with an audience. They became fast friends, and would appear in two other films together (Lone Star (1952) and Mogambo (1953)).

Edward Arnold is excellent in the small role of Dave Lash, an agent who's client, Buddy Hare (Keenan Wynn) has caught the attention of Mr. Evans. Thanks to Gable's demand for changes to the script, the character of Dave Lash was made less charged. Mr. Wakeman's book had made much of Dave's ethnicity - his Jewish heritage was used as a club against him. Instead, the script changes Dave to a man who had had a bit of trouble in his past, but has spent his adult life trying to help children live a better life than he had. Allegedly, Wakeman built the book's character on agent Jules Stein, the founder of MCA (Freddie Callahan as portrayed by George O'Hanlon, was initially a caricature of Lew Wasserman).

A tip of the hat as well goes to the delightfully crude Evan Llewellyn Evans, as portrayed by Sydney Greenstreet. Mr. Greenstreet pulls no punches in making Evans totally reprehensible. The audience is both amused and revolted by his antics, making Vic's rebellion against him a delight to watch. Also watch for Keenan Wynn as the atrocious comic Buddy Hare. His awful routine also shows up the horrid taste of Mr. Evans.

The reviews from Variety and Life Magazine were lukewarm at best (Life said: "Opposite the ladylike Deborah, Clark Gable's mannered virility seems embarrassing - something that never happened to him alongside such tough Tessies as Joan Crawford and Jean Harlow..). Regardless, the film made a respectable profit, Ms. Kerr's career was launched, and Mr. Gable was back the following year in the impressive Command Decision.
 
We'll leave you with a scene from the movie: the introduction of Evan Llewellyn Evans and a suggestion that you look this one up.

Barbara Marries an Immigrant

It's 1909.  Mary Archer (Barbara Stanwyck) nervously awaits the return of her cousin (and possible fiance) Jeff  (Ralph Bellamy) from Germany.  But Jeff's return changes both of their lives when Mary meets his friend, Hugo Wilbrandt (Otto Kruger).  Hugo and Mary fall deeply in love, marry, and begin a family, consisting of their dachshund Cammie and their son Teddy (Ronnie Cosby).  Hugo begins a successful career as a professor in Rossmore College, and becomes an American citizen.  Their lives seemed blessed, until World War I erupts.  From that point on, Hugo and Mary are shunned as the enemy, and their happy existence becomes a series of tragedies.

Ever in My Heart (1933), a pre-code film, is almost relentlessly sad; there are parts of the film that are almost too much to bear.  Since it begins as an almost lighthearted romance, the ultimate spiral downward makes for an even more intense viewer experience. Released by Warner Brothers studio, which also gave us such socially relevant films as I Am a Fugitive from a Chain Gang (1932, which looked at the American criminal justice system) and Heroes for Sale (1933, which dealt with the problems faced by World War I veterans); this film too is attempting to highlight injustice within the United States. The film, however, came out as Germany was electing a Nazi government, and beginning their persecution of the Jewish population (Victoria Wilson's A Life of Barbara Stanwyck: Steel-True, 1907-1940).  As a result, it probably was not perhaps seen in the light which screenwriter Bertram Millhauser had intended.

Barbara Stanwyck was not fond of this picture (TCM article) or any of her films at Warner Brothers; she called them "a series of parts that were much alike - women who were suffering and poor, and living amid sloppy surroundings."  That may be true, but she is dynamic as a woman who watches her life crash in ruins about her.  We have no doubt of her sincerity when Mary refuses to leave her husband, despite their reduced circumstances.  When neighbors, who had been their friends begin to reject them because of her husband's nationality, Stanwyck gives Mary a quiet but determined dignity.

We were enchanted by Ronnie Cosby in the role of young Teddy.   He is just delighful in the role of the affectionate child whose life becomes a tragedy.  Mr. Cosby's career began with a small role in 1929's Madame X.  He worked steadily through 1939, appearing in films such as Broadway Through a Keyhole (1933), Little Men (1934), and the 1937 remake of Madame X.  His last appearance was in 1941's Birth of the Blues.  He died in 2010, at the age of 82.

Ralph Bellamy is also excellent as Jeff, Mary's first cousin and original intended.  Jeff is carefully set up as a contrast to Mary's brother, Sam (played with a certain amount of petulance and jealousy by Frank Albertson).  When Sam revolts against his brother-in-law merely because he was born in Germany, it is Jeff who tries to soothe the family. Though Jeff describes himself as passionless, is always a true friend to both Mary and to his rival, Otto.  When Mary's family ignore her, it is Jeff who ultimately convinces Grandma Archer (Laura Hope Crews) to take in the starving couple. That Jeff is also a member of the very biased family is sometimes hard to remember - he is much more like the very open-minded Mary than the rest of the Archers.  We understand why Mary at one point was considering a marriage with Jeff.

As is often the case, Ms. Stanwyck and Mr. Kruger were not the first choices for the Wilbrandts. Kay Francis and Paul Muni were originally considered (AFI Catalog).  Not surprisingly, The New York Times reviewer was not enamored of the film, calling it "meaningless to this new generation" because it was not "news any more that the war propaganda which dramatized the Germans as baby murderers and wife beaters was prejudiced."

This comment by the Times in 1933 is quite ironic, given that Ever in My Heart is much more timely today than any of us might like to admit.  Just days before we viewed the film, I heard this report from NPR story concerning US residents, most of the Muslims, who are fleeing to Canada - and to arrest - rather than staying the in U.S. This film is testimony to the fact that these are not new prejudices, and that despite this film's pleas for tolerance and understanding, history keeps repeating itself, with the imprisonment of Japanese Americans during World War II, and today with a political agenda aimed at a particular religious group.   

As we publish this article, the news of Robert Osborne's death has just been announced. It's with a heavy heart that we add our voices to those that mourn this kind, wonderful and intelligent man.  I had the privilege of meeting him at a reception several years ago; he was gracious and welcoming.  But more than this, I will miss my nightly visit with him on television, where he answered my need for more information, and provided a context and an appreciation for the films that I've always loved.  I have learned at the feet of a master; he will be greatly missed.
 
We will leave you with this trailer and with a reminder that no one in the United States should be forced to state that "they let me be a citizen, but they won't let me be an American."

Loretta Goes to Work

1931's Big Business Girl features Loretta Young as  Claire McIntyre, a woman just out of secretarial school.  She is in love with musician Johnny Saunders (Frank Albertson), but her debts from school force her to let him journey off alone to a lucrative gig, while she looks for work in New York City. After landing a job as a stenographer, she is able to get into see advertising executive Robert J. Clayton (Ricardo Cortez), who, impressed with her ad copy (and her looks) promotes her to copywriter.  Claire inadvertently overhears Clayton's assessment of her skills and appearance, and decides to use her wiles to further advance her career.  Re-enter Johnny, and sparks begin to fly, as Johnny is furious at Claire's dedication to her job, as well as Clayton's obvious interest in her sexually.

Looking back from the vantage of 2013, one could see Claire eventually suing Clayton for sexual harassment, but this is 1931, and neither his actions (nor her's) is at all bothersome.  We won't go into too much detail as to Johnny's reactions, because that would give away a big surprise that is revealed in the middle of the film.  But there is a lot of petulance on the side of Johnny (Frank Albertson is rather good at petulance.  Witness his Freddie Miller in Bachelor Mother) and sliminess on the part of Cortez (which we all know from many movies he too is very good at portraying).  And Loretta skirting the edge of being the slightest bit racy.  The fact that Claire is quite talented at her job (and is very careful to not lead Clayton on too far) makes her just barely moral.  But this is a pre-code film, so that titillation value is there.

There is also a nice surprise towards the end of the movie - an appearance by Joan Blondell.  Telling more than that would give away too much of the plot, but the she is a riot.  Here is a clip that will give you a taste of the movie (and of Ms. Blondell): 



While not a great movie, this is an interesting film that is worth seeing.  Just for Young and Cortez alone, it worth the just little over an hour of your time.