If MGM had cast Marie Dressler in their most notorious flops, those films would not have been flops. Throughout the heyday of the depression, she kept audience's glued to the screen whether she was suffering or clowning, and on a few occasions, singing and (sort of) dancing. This plump and self described homely woman had a heart as big as the stars in the heavens, and was a crowd pleasing actress whose big heart was a sign of hope. As the operator of a small town bank, Dressler leaves it behind to her son Norman Foster on the day he gets married. New wife Karen Morley is saddled with a harridan of a mother (Polly Moran) who happens to be Dressler's oldest pal (only God knows why) whose temper and pride threatens to break up the marriage and through an impulsive move, causes a run on the bank. Thanks to Foster's mismanagement, Dressler must sell their house and ends up working as Moran's housekeeper which is a nightmare for everybody. More issues with the bank leads Dressler to contemplate suicide, but the audience is in on the secret which adds laughs in scenes that otherwise would have been tragic.
In addition to Dressler's showy performance, the film offers a smart and witty screenplay in spite of some often heard cliches. Its only fault is the fact that Moran plays a character so obnoxious that many of her scenes (especially those without Dressler) are painful to get through. This was a big hit for MGM as America prayed for new leadership to lead them out of the depression, and Dressler gets a few uplifting speeches. Her final speech has a very subtle twist that could never have made it past the censors a few years later. While this has mostly comic elements throughout, there is an underlying sense of serious issues timely at the time that 85 years later could come into play with today's issues.
In addition to Dressler's showy performance, the film offers a smart and witty screenplay in spite of some often heard cliches. Its only fault is the fact that Moran plays a character so obnoxious that many of her scenes (especially those without Dressler) are painful to get through. This was a big hit for MGM as America prayed for new leadership to lead them out of the depression, and Dressler gets a few uplifting speeches. Her final speech has a very subtle twist that could never have made it past the censors a few years later. While this has mostly comic elements throughout, there is an underlying sense of serious issues timely at the time that 85 years later could come into play with today's issues.