Though Loretta Young (as Gallagher, the young reporter with no first name) is listed as the star of Platinum Blonde (1931), it's Jean Harlow as socialite Ann Schuyler who steals the film. When reporter Stew Smith (Robert Williams) visits the Schuyler home to determine the validity of rumors about Ann's brother Michael, Stew is instantly smitten by the lovely Ann. She is less impressed, but when Stew is able to retrieve (and return to the family) some incriminating letters written by Michael, Ann discovers that Stew is appealing indeed. Their elopement is an anathema to her family, but Ann is determined to have Stew fit into HER world, whether Stew likes it or not. This is a very enjoyable film, with good performances by Jean Harlow and Robert Williams. As we mentioned, Young's name is above the title, but she doesn't stand a chance once Harlow shows up. Harlow's Ann is quite appealing, perhaps because she doesn't seem as upper class and snooty as the rest of the Schuyler family. This TCM Article discusses the problems Harlow had with sounding "sophisticated." She especially had some difficulties with the word "library". While director Frank Capra must have despaired at getting her to sound right, in the long run, it works in her favor. We want to like them as a the couple, despite the fact that Ann is doing all she can to make her young husband into an upper-class twit.
That this is a pre-code film is readily apparent by the relationship between Stew and Ann. It's really one of lust more than of love. Though Stew is clearly his own man, Ann is determined to tame him, and make him an appendage to her lifestyle. She has no clear understanding of his career goals (he wants to write a play, for one thing) and would be quite satisfied if he stayed home and played at being a society husband. Louise Closser Hale, a character actress we've admired before, is terrific as Ann's horror of a mother. Mrs. Schuyler couldn't be a bigger snob, and her disregard for anyone not in her social circle makes her unlikeable AND humorous. Her "consort" of sorts is Reginald Owen as lawyer Grayson. Grayson does all of Mrs. Schuyler's dirty work, and enjoys every minute of it. The character provides someone at whom Stew can direct his animosity, and Owen does an admirable job of keeping the character distasteful. Also well worth watching is Halliwell Hobbes as Smythe, the butler. We would expect this character (really, the only one in the house with any class) to be the worst snob, but Hobbes gives us a likeable fellow who really is open to all classes. The party scene in which he interacts with Stew's friends is a riot.
Robert Williams, who played Stew, is also delightful. This, unfortunately, was his last film. He died at the age of 37, the
result of peritonitis from a ruptured appendix. He had only made 7
films - two shorts and 5 full-length films (one a silent). We've
actually reviewed two of his talkies: Devotion and The Common Law. This film demonstrates his breezy style and screen presence. Though Ann is the one with most of the good clothing, our Loretta gets one smashing evening dress that takes your breath away. It's amusing that Stew specifically asks HOW she got a dress like that (on a reporter's salary). We wondered the same thing. The name of the costumer is not provided, but this dress proves his/her talents. Interestingly, the film was originally called "Gallagher" after Young's character, but was changed to demonstrate the power Harlow had in the film. Directed by Capra and written in part by Robert Riskin, it provides an early example of their collaborative genius. As we mentioned before, one scene that particularly stuck with us was the singing argument between Ann and Stew. As referenced in the TCM article above, it does seem almost improvised. It also appears that Harlow and Williams are having quite a good time:
As the film The Common Law (1931) opens, we meet Valerie West (Constance Bennett). She has just informed her lover Dick Cardemon (Lew Cody) that she is leaving. Dick is angered by her departure, and is sure she will return. Valerie, however, is determined to make it on her own and applies for a modeling job with artist John Neville (Joel McCrea), who is struggling with a painting for which he needs the right model. He finds that model in Valerie, and finds too a woman to love.
Though struggling to make it as an artist on his own income, John is the son of the wealthy John Neville, Sr. (Walter Walker). John, Jr.'s sister Claire Collis (Hedda Hopper), who we know is not thrilled by his career choice, is horrified when she discovers that her brother is in love with such a - to her view - common woman. So, Claire devises a plan to break up the relationship.
There is a real chemistry between Constance Bennett and Joel McCrea. It was evident in their other movies together (this is the fourth of their four films together that we've viewed and discussed). An article on the TCM website (in a discussion of Born to Love) talks about Bennett telling McCrea that he was to be her co-star in that film, and the fact that many in Hollywood thought there was more to their relationship than just work.
Certainly this film falls nicely into the Pre-code realm. We watch Valerie shyly drop her clothing as she poses nude for painter John, and we see a number of paintings that make it clear she doesn't wear a whole lot of clothing for the series of pictures he does of her. And then there is their relationship. Terrified he will be driven away if they marry, Valerie agrees to a relationship with John ONLY if there is no marriage involved. As in the film Illicit, it is the woman who opts for the "common law" relationship. The men in these films are much more desirous of marriage than the women.
John is clearly more conventional than Valerie - his double-standard is quite pronounced when he learns of her prior affair with Dick. But it does not bother him in the least that she is willing to pose in the nude. And, while they are in Paris, John and Valerie live together openly, when they return to New York, John feels compelled to hide their relationship.
This film is also notable for the presence of notorious gossip columnist Hedda Hopper. Her Claire is annoying from the minute we meet her. She is dull and conventional, has no understanding of her brother, and is more interested in her position and reputation than his happiness (unlike John's father, who just wants John to be happy). We don't learn a whole lot about Claire Collis - she seems to be either a widow or a divorcee, as we never meet a husband, nor is he even mentioned. In the TCM article about this film, Hopper's relationship with Bennett is discussed. Bennett did not like her one bit; even though at this point in her career, Hopper was still primarily acting. However, she had started selling stories to the press about her colleagues. It was after she realized how much more lucrative being a member of the press would be that Hopper changed her career focus (though, even after she was a columnist, she still appeared in films, most notably, as Dolly DePuyster in The Women.
The film opens with a stock shot of Paris from the 1930s which was quite fun to watch. The clothing this time was by Gwen Wakeling. We were not familiary with her, but as always, Bennett's clothing is gorgeous; but quite honestly, Constance looks good in anything.
All in all, this is an enjoyable film. We heartily recommend it.
Devotion (1931) stars Ann Harding as Shirley Mortimer the maligned and ignored daughter of an intellectual family. While assisting her family (Shirley runs the house. The rest of the family is “too busy”), she meets David Trent (Leslie Howard), a busy barrister in need of a nanny for his young son. Shirley is smitten with David, and decides to pursue their relationship by apply for the job as nanny. She facilitates this by inventing an older Cockney lady, Mrs. Halifax, and donning a grey wig, old clothing, and glasses. David, of course, is oblivious to the disguise, but it doesn’t take long for his client, Norman Harrington (Robert Williams) to realize that the wig is hiding an attractive, young woman.
It struck us that Shirley was the somewhat less unbalanced mother of Bette Davis’ Charlotte Vale (Now, Voyager). Both are looked down upon by their families, both seem to see themselves as unattractive.< However, Shirley decides NOT to have a nervous breakdown. Instead, she becomes someone else.
Though filmed in the Pre-code era, this isn’t really a Pre-code movie. Or is it? Norman has murdered his wife (and been found innocent, because the wife was a violent lush). And David has his own little secret (which we won’t reveal) that rather smacks of the Pre-code ethos.
Ann Harding is quite endearing as Shirley. Though her family doesn’t think so, she really does have a backbone, is smart, and ultimately quite attractive. Leslie Howard is appropriately befuddled as the overworked barrister. And then there is Robert Williams. Robert Osborne told us about his unfortunate, brief life – a life cut short just as he was receiving attention for his work. His Norman is JUST enough on the edge to make you wonder IF he was really a murderer. One is never quite sure if he is trustworthy or not. And watch for Louise Closser Hale as Shirley's witch of a mother.
We leave you with a clip from the film. Next time, a real Pre-Code film!
