What is really remarkable about this pre-code drama from MGM is that it takes a typical depression era problem and shows the audience that issues are not always resolved, that not all so-called bad girls are really bad, and that survival sometimes means doing things that others will judge you ethically for paths that you had no other choice for chosing. This shows a typical large lower class family, waking up at the start of their day, and arguing over every little thing, from no butter at the breakfast table to who will need to get into the bathroom first. The arguments are silly, but then so is so much family interaction, and this extended sequence (with Clara Blandick and J. Farrell MacDonald as the gruff parents, and Constance Bennett, Anita Page and Jack Hanlon as their children) is so real that it is almost like a camera was planted in some real family's kitchen and followed them around as they went about their day. Bennett goes to work, is noticed by the boss (Adolph Menjou), becomes his "kept woman", then falls in love with the not yet successful Robert Montgomery. Even though Bennett sends her family money after moving out, they pretty much disown her for what they consider immoral behavior.
Meanwhile, sister Page gets married to rough around the edges Clark Gable who sees Bennett outside the house at Christmas time and gives her the third degree for bringing shame to the family. Bennett, attending social events and swank parties, is torn between both true love with Montgomery and financial security with Menjou. Old acquaintance (and veteran kept woman) Marjorie Rambeau gives her hell for considering dumping Menjou for Montgomery. the script gives the audience the chance to see the conflict within Bennett's mind. She respects Menjou but doesn't love him, and loves Montgomery, but is afraid of being poor again. So what is a girl to do? That's where the script leaves the audience the choice to guide her fate after the MGM lion roars the end, and it's an interesting way of presenting this situation. Bennett never seems like a girl from a poor family, with her regal ways and fastidious way of making herself up, but then again, many early talkie female movie stars (like Stanwyck and Crawford) never looked like they came from poverty either. Menjou, although using his power and position to make Bennett his mistress, is not really a cad, and that gives him some sympathy. Montgomery's character, however, is not really developed. At the bottom of the billing, Clark Gable first got notice with his small part (three scenes), and it is obvious that he was being geared for stardom. The future Auntie Em (Clara Blandick) is no-nonsense and tough as the mother, and J. Farrell MacDonald shines in a scene after Bennett has been rejected by her mother where he comes to her for financial help (presumably for a visit to the bootlegger). Small elements like this makes this rise above the many similar women's dramas of the pre-code depression early talkie era, and that makes this a must.
Meanwhile, sister Page gets married to rough around the edges Clark Gable who sees Bennett outside the house at Christmas time and gives her the third degree for bringing shame to the family. Bennett, attending social events and swank parties, is torn between both true love with Montgomery and financial security with Menjou. Old acquaintance (and veteran kept woman) Marjorie Rambeau gives her hell for considering dumping Menjou for Montgomery. the script gives the audience the chance to see the conflict within Bennett's mind. She respects Menjou but doesn't love him, and loves Montgomery, but is afraid of being poor again. So what is a girl to do? That's where the script leaves the audience the choice to guide her fate after the MGM lion roars the end, and it's an interesting way of presenting this situation. Bennett never seems like a girl from a poor family, with her regal ways and fastidious way of making herself up, but then again, many early talkie female movie stars (like Stanwyck and Crawford) never looked like they came from poverty either. Menjou, although using his power and position to make Bennett his mistress, is not really a cad, and that gives him some sympathy. Montgomery's character, however, is not really developed. At the bottom of the billing, Clark Gable first got notice with his small part (three scenes), and it is obvious that he was being geared for stardom. The future Auntie Em (Clara Blandick) is no-nonsense and tough as the mother, and J. Farrell MacDonald shines in a scene after Bennett has been rejected by her mother where he comes to her for financial help (presumably for a visit to the bootlegger). Small elements like this makes this rise above the many similar women's dramas of the pre-code depression early talkie era, and that makes this a must.