From its very opening shot in which the camera tracks rapidly with the workers leaving a box factory, we know that we are in for a stylistic treat. In fact the promise of this inventive opening is soon realized in a remarkable sequence in which our heroine is stopped by a slowly moving train at a level crossing. As various compartments glide past, we are flashed with images of the life styles enjoyed by the very rich. Thus, this truly riveting movie gets off to a solid start which engages our rapt attention from beginning to end. The pace is fast, production values are gratifyingly lavish, and the technical credits are all as smooth and polished as burnished gold. And even more importantly, the screenplay is not only polished and intelligent, but fashioned with delightful subtlety, wit, ingenuity and originality. And aside from one or two false moments (particularly the heroine's defense at the election rally), it is totally believable.
Although she was handed what was virtually her stock role for this period, Joan Crawford imbues the determined heroine not only with sympathy but with feelings that always seem totally genuine. She transcends acting. Also perfectly at ease in his role, Gable turns in a vigorously realistic characterization. The support players are likewise fully in tune, with Skeets Gallagher as a reluctant mentor and Marjorie White as the hideous Vernice contributing stand-out performances.
Although she was handed what was virtually her stock role for this period, Joan Crawford imbues the determined heroine not only with sympathy but with feelings that always seem totally genuine. She transcends acting. Also perfectly at ease in his role, Gable turns in a vigorously realistic characterization. The support players are likewise fully in tune, with Skeets Gallagher as a reluctant mentor and Marjorie White as the hideous Vernice contributing stand-out performances.