Though this story of three girls on the lookout for rich men inspired How to Marry a Millionaire, the gals in this pre-Code original hardly hold out for marriage! Sugar daddies will do as well as husbands, and even better in the case of one who prefers an illicit good time to a rich husband. Joan Blondell, as the good sport, doesn't have enough screen time but is quite effective when she does--the catfight in the beauty parlour, with its mudpacks and a hair-waving machine that looks like a giant squid, is a riot. Madge Evans is the sweet one who nevertheless forsakes her sweet boyfriend for wealthy Lowell Sherman's offer of musical training, which clearly includes some very intimate private tuition. Ina Claire is the wildly unscrupulous one, who cheats, steals, and tells outrageous lies to keep herself in champagne and chinchilla. The clothes are gorgeous--slinky evening gowns that look like lingerie--and the wisecracks are as sharp as the diamonds the girls crave (remember that this was the era of Gentlemen Prefer Blondes). A man, asking for the men's room, is told "It's the door that says Gentlemen--but don't let that stop you." When the two other girls meet Ina Claire returning on an ocean liner, one says, "Look, she doesn't have a man--you'd think she'd be afraid of catching cold." There's no plot to speak of, just a series of incidents, which gets a bit wearying, and it's bizarre that the other two keep reconciling with the treacherous, bitchy Ina Claire character. But for a frivolous, glamorous, unsentimental look at love and money, this is hard to beat.
23 Reviews
oldie b/w version of "how to marry a millionaire"
ksf-224 February 2008
This fun, pre-code romp from 1932 starring Joan Blondell, Madge Evans, Ina Claire, was remade in color in 1953 as How to Marry a Millionaire. Similar plot, but in the original, the girls steal boyfriends (David Manners and Phillips Smalley) from each other, where as in the remake, they each find their own man, and then have to decide if they want to keep them or not. Interesting that Betty Grable, who starred in the 1953 version had appeared as a hat check girl in the 1932 version. This was one of the last films directed by Lowell Sherman ( also played Boris Feldman in the film) as he died two years after filming this. Ina Claire (played Jean) would have been the oldest of the three co-stars, 39 years old in 1932, and she only made three more after this. "The Greeks" was made during prohibition, so of course part of it takes place in a loud, smoke-filled "speakeasy". Lots of dark eye makeup, and the picture and sound quality are pretty terrible in the version I watched, but this IS a pretty old flick. A little slow, but fun if you have the patience. Gives you an idea of how some of the young, poor women got by in those days if they weren't willing to go look for work.
Think of this as a forerunner to The Women, from 1939.
AlsExGal10 February 2023
Polaire (Madge Evans), and Schatzi (Joan Blondell), are two Broadway actresses with manageable problems, but when their conniving friend Jean (Ina Claire) returns from Paris, broke and in search of a rich husband, their tranquility is upended. Polaire is trusting, and engaged to the honorable and wealthy Dey (David Manners). Schatzi has Pops, a sugar daddy, who remains off screen. Jean then goes to work trying to break them up, so she can have the men to herself.
Lowell Sherman ably directs and appears as Boris, a famous concert pianist who bets Jean money he can make her fall in love with him, but Boris falls for Polaire instead, allowing Jean an opportunity to wreck another couple. Jean's problem isn't that she's too clever for own good, it's that she needs excitement dull but respectable men can't provide. Once she has the money to send her away, and quiet down any scandal, Jean can do what she loves most: being in the company of Polaire and Schatzi. Adapted from Zoe Akins's play, the film is sprinkled with bon mots, and is a funny and sophisticated look at the complexity of female friendship.
Lowell Sherman ably directs and appears as Boris, a famous concert pianist who bets Jean money he can make her fall in love with him, but Boris falls for Polaire instead, allowing Jean an opportunity to wreck another couple. Jean's problem isn't that she's too clever for own good, it's that she needs excitement dull but respectable men can't provide. Once she has the money to send her away, and quiet down any scandal, Jean can do what she loves most: being in the company of Polaire and Schatzi. Adapted from Zoe Akins's play, the film is sprinkled with bon mots, and is a funny and sophisticated look at the complexity of female friendship.
Critics of 2007 do not share same thoughts as those of 1932
gideonlp5 August 2007
I read with interest the comments of the critic for "Three Broadway Girls." Then I saw the movie. I must say that in accordance with the critic's 2007 standards, he was quite correct in his analysis. However, I am now 80 years old and remember the pictures in those days fairly well. I would say that the critic must be in his 30's or 40's for he evaluates the content and acting with those skills of 2007. If he were a critic in 1932 or the 30's for that matter, I think he would find this a 'charming' bit of humorous story telling. I would offer that those who criticize motion pictures should take into account the era in which they were made, and NOT evaluate them with the 2007 era standards.
Ina Claire Steals The Show
boblipton22 January 2019
The Goldwyn production based on Zoe Akin's racy play about three gold diggers has Joan Blondell, Madge Evans and Ina Claire playing the trio, double-crossing each other as the mood suits them with the men falling like tenpins. David Manners, Phillips Smalley, even Lowell Sherman, the director, who doubles as a concert pianist is not immune to their machinations and *ahem* talents. Apparently George Barnes, the director of photography fell in love with Blondell on the set. They married the next year; presumably Claire would have stolen him from her, except every time she put on a new costume, she rushed over to show soon-to-be ex-husband John Gilbert how she looked.
The wisecracks fly fast and furious. Miss Claire, with her cigarette voice and scheming role steals the show every time she's on. It's a crackling Pre-Code, even though the lingerie shots are kept to a minimum
The wisecracks fly fast and furious. Miss Claire, with her cigarette voice and scheming role steals the show every time she's on. It's a crackling Pre-Code, even though the lingerie shots are kept to a minimum
These girls made the 20s roar
bkoganbing27 March 2014
Joan Blondell, Madge Evans, and Ina Claire bring the Zoe Akins comedy, The Greeks Had A Word For It to the big screen. It's the story of three women who have determined that the good times of the 20s won't last and they're all determined to marry men who can support them in good style. By the time the play was making its 253 performance run on Broadway the Depression was upon us. No doubt those in the audience were saying how wise these girls were.
All three are different personality types, Claire's character isn't the noblest of God's creations, but they do have a bond with each other that seems to override all.
Adkins wrote some really great lines and the three of them, especially Blondell deliver those pre-Code zingers with pizazz. Those lines she didn't write Sidney Howard did for the screen and between the two of them we got one good script.
The American cinema has given us four versions of this story, the others being Three Blind Mice, Moon Over Miami, and How To Marry A Millionaire. All of them were updated to suit the times they were made in. An easy task to do because Akins is writing about eternal situations.
For fans of the leads, especially Blondell.
All three are different personality types, Claire's character isn't the noblest of God's creations, but they do have a bond with each other that seems to override all.
Adkins wrote some really great lines and the three of them, especially Blondell deliver those pre-Code zingers with pizazz. Those lines she didn't write Sidney Howard did for the screen and between the two of them we got one good script.
The American cinema has given us four versions of this story, the others being Three Blind Mice, Moon Over Miami, and How To Marry A Millionaire. All of them were updated to suit the times they were made in. An easy task to do because Akins is writing about eternal situations.
For fans of the leads, especially Blondell.
fun loving trio are on the make!!!
kidboots2 September 2008
Warning: Spoilers
A year before "Gold Diggers of 1933" said it with songs, this scintillating pre-code comedy was the first of many imitations. Three sassy Broadway babes are out to snare millionaires. In 1919 Ina Claire starred on Broadway in the comedy hit "The Gold Digger", and that's how the term was created. I agree with the other reviews, this is far more grittier and real than the 1950s "How to Marry a Millionaire".
"Since the world began, half the female population have always been working women. The other half have been working men!!!" announces the opening title. Jean (Ina Claire) returns from Paris and together with friends Polaire (Madge Evans) and Shchatzi (Joan Blondell) decide to be like the three musketeers "all for one and one for all" - then the fun and fighting starts.
Jean is in the habit of stealing men from her friends. The three of them go out on the town with Polaire's boyfriend Dey (David Manners). He brings Boris Feldman , a renowned pianist (Lowell Sherman) who can see a lot of talent in Polaire. She decides to study with him but a chance traffic accident involving a milk truck brings her back to Dey's arms and Boris is unfortunately out of the picture. Dey's father needs to be convinced that Polaire is not a gold-digger.
The film abounds with one liners - "I can always tell real pearls - even when they're such little ones!!!"
Jean hides her pearls in Polaire's jacket so she can expose her as a thief in front of Dey's father. She ends up almost marrying Dey's father.
Even though Joan Blondell is top billed - she has the least to do. It is Ina Claire's movie all the way and she is great as the ruthless man eater Jean. She had been a big Broadway star and also was one of John Gilbert's wives. Madge Evans was a protégé of Irving Thalberg's who appeared in some prestigious MGM productions, "Dinner at Eight", "David Copperfield" etc. She played the sensitive Polaire. The film was directed by Lowell Sherman who also played Boris Feldman - it is a pity he did not have a bigger role.
Recommended.
"Since the world began, half the female population have always been working women. The other half have been working men!!!" announces the opening title. Jean (Ina Claire) returns from Paris and together with friends Polaire (Madge Evans) and Shchatzi (Joan Blondell) decide to be like the three musketeers "all for one and one for all" - then the fun and fighting starts.
Jean is in the habit of stealing men from her friends. The three of them go out on the town with Polaire's boyfriend Dey (David Manners). He brings Boris Feldman , a renowned pianist (Lowell Sherman) who can see a lot of talent in Polaire. She decides to study with him but a chance traffic accident involving a milk truck brings her back to Dey's arms and Boris is unfortunately out of the picture. Dey's father needs to be convinced that Polaire is not a gold-digger.
The film abounds with one liners - "I can always tell real pearls - even when they're such little ones!!!"
Jean hides her pearls in Polaire's jacket so she can expose her as a thief in front of Dey's father. She ends up almost marrying Dey's father.
Even though Joan Blondell is top billed - she has the least to do. It is Ina Claire's movie all the way and she is great as the ruthless man eater Jean. She had been a big Broadway star and also was one of John Gilbert's wives. Madge Evans was a protégé of Irving Thalberg's who appeared in some prestigious MGM productions, "Dinner at Eight", "David Copperfield" etc. She played the sensitive Polaire. The film was directed by Lowell Sherman who also played Boris Feldman - it is a pity he did not have a bigger role.
Recommended.
A little crude, but lively and fun comedy
gridoon202420 August 2012
Warning: Spoilers
Since this film is in the public domain and there are multiple DVD versions of it out there, my guess is that most prints look like mine (I got it in one of those Mill Creek collections): quite blotchy. Which is a shame, really, because "The Greeks Had A Word For Them" / "Three Broadway Girls" is a fun comedy once you adjust to it. Probably one of the earliest films ever to focus almost exclusively on three female characters, they are played by three fine actresses who make a splendid team: Joan Blondell, Ina Claire and Madge Evans. My favorite is Evans (why is she so little-known?), who projects the kind of sweetness that I've only seen from one other (even lesser-known) actress of that era: Mary Brian. I really cared about her character and I wanted her to be happy. By contrast, Ina Claire plays an unsympathetic character - her whole "pearls trick" certainly crosses the line for a comedy - but she does have some funny moments, the funniest being her whole presence during the reading of a will that she expects to gain from. Despite being made before the infamous "Code", the provocative content of the movie is rather restrained - perhaps the main reason it's not so popular today? **1/2 out of 4.
Ina Claire Seizes the Screen
wes-connors19 July 2010
"Throughout the ages, half the women in the world have been working women
and the rest of the women have been working men," is a helpful introduction. And, opening with Joan Blondell (as Schatze Citroux) in her underwear is certainly appreciated. But, these "Three Broadway Girls" recreating Zoe Akins' "The Greeks Had a Word for It" for the big screen really shows its age. The storyline begins with Ina Claire (as Jean Lawrence) returning from France. She rejoins girlfriends Ms. Blondell and Madge Evans (as Polaire Gwynn). Alas, Ms. Claire is flat broke. So, the women set out to land a man, the richer the better. And, going after each other's man is fair game. The trio's main gold-digger is Ms. Claire, who also grabs most of the camera's attention.
The main leading man is dashing David Manners (as Dey Emery), best remembered for "Dracula" (1931). Actor/director Lowell Sherman was a great silent screen villain, especially memorable as the cad who impregnated and deserted Lillian Gish in "Way Down East" (1920). Interestingly, D.W. Griffith company player Creighton Hale was also in that movie, and receives some good "extra" work herein, possibly thanks to Mr. Sherman or producer Samuel Goldwyn. The film features several other notables in small roles. Probably the least satisfying will be the too briefly glimpsed Betty Grable, who appeared in this plot's updated "How to Marry a Millionaire" (1953). All in all, this film is mainly enjoyable for Claire's scene-stealing performance. She sure is having fun.
***** The Greeks Had a Word for Them (2/3/32) Lowell Sherman ~ Ina Claire, Joan Blondell, Madge Evans, David Manners
The main leading man is dashing David Manners (as Dey Emery), best remembered for "Dracula" (1931). Actor/director Lowell Sherman was a great silent screen villain, especially memorable as the cad who impregnated and deserted Lillian Gish in "Way Down East" (1920). Interestingly, D.W. Griffith company player Creighton Hale was also in that movie, and receives some good "extra" work herein, possibly thanks to Mr. Sherman or producer Samuel Goldwyn. The film features several other notables in small roles. Probably the least satisfying will be the too briefly glimpsed Betty Grable, who appeared in this plot's updated "How to Marry a Millionaire" (1953). All in all, this film is mainly enjoyable for Claire's scene-stealing performance. She sure is having fun.
***** The Greeks Had a Word for Them (2/3/32) Lowell Sherman ~ Ina Claire, Joan Blondell, Madge Evans, David Manners
Gold Diggers of 1932
1930s_Time_Machine17 September 2022
This isn't a Warner Brothers quickie but there's a warm sense of familiarity about it and although we don't have the usual Warner family, the three girls do have a sparkling on-screen chemistry. Fans of 'Gold diggers of 1933' will like this - it is of course not as exceptional but it's got a similar plot, similar characters and that same upbeat, fun feel - but without songs.
Joan Blondell enjoyed the opportunity of working at a more relaxed pace in a more luxurious studio with Coco Chanel dresses and that enthusiasm coupled with her natural comic timing make her shine in this. George Barnes on camera captures her vibrancy brilliantly and his love making through the camera leads to him actually marrying her. Surprisingly though, she isn't the star in this, that accolade goes to Ina Claire, whom I confess know little about but she's fabulous in this. Not too sure about Madge Evans but nevertheless considering they've only just been thrown together for this, there's a real chemistry between them making them seem like they really are best friends.
Kind of remade twenty years later as 'How to Marry a Millionaire' but this original version, although only o.k. Is still just marginally better.
Joan Blondell enjoyed the opportunity of working at a more relaxed pace in a more luxurious studio with Coco Chanel dresses and that enthusiasm coupled with her natural comic timing make her shine in this. George Barnes on camera captures her vibrancy brilliantly and his love making through the camera leads to him actually marrying her. Surprisingly though, she isn't the star in this, that accolade goes to Ina Claire, whom I confess know little about but she's fabulous in this. Not too sure about Madge Evans but nevertheless considering they've only just been thrown together for this, there's a real chemistry between them making them seem like they really are best friends.
Kind of remade twenty years later as 'How to Marry a Millionaire' but this original version, although only o.k. Is still just marginally better.
Three women in search of a sugar-daddy.
piccadillyjim-15 March 2007
THE GREEKS HAD A WORD FOR THEM has a good cast, a good director, and a good idea for a story, but you would never know it from watching this film. Ina Claire, a renowned actress from Broadway, displays not one ounce of subtlety in her role as the gold-digging, throat-cutting Jean. Joan Blondell tries her best as the warm-hearted Schatzi who attempts to keep order and harmony in her group of three women seeking wealth through marriage with a wealthy man. Given the script she has to work with, her task was next to impossible. Madge Evans, as the nice showgirl, rounds out the trio, but is unfortunately over-shadowed by the antics of Claire who dominates every scene with her over-acting.
David Manners plays Madge's nice and wealthy, though unbelievable boyfriend, while Lowell Sherman, who directed the film, plays a renowned pianist Claire runs after. This film is classic proof of the old adage that a film's principal seldom can step outside of their role to direct the proceedings and do a good job.
This film is so bad, one has to wonder who Sam Goldwyn had in mind when he began this production. The women are the worst stereotypes one could imagine, while the men have absolutely no redeeming qualities. No doubt Goldwyn saw this as some sort of a roaring twenties exercise in loose morality, but he only succeeded in creating a caricature of life in the jet-set.
I rated this a 3 only because of the presence of Joan Blondell and Madge Evans who are worth watching. Evans has been described as a "wooden" actress by another writer. In this film, she is the only one with any fire in her demeanor when standing up against Claire busy demonstrating how to chew up the scenery. Evans projects poise, grace, and class... no easy task in this scenario.
David Manners plays Madge's nice and wealthy, though unbelievable boyfriend, while Lowell Sherman, who directed the film, plays a renowned pianist Claire runs after. This film is classic proof of the old adage that a film's principal seldom can step outside of their role to direct the proceedings and do a good job.
This film is so bad, one has to wonder who Sam Goldwyn had in mind when he began this production. The women are the worst stereotypes one could imagine, while the men have absolutely no redeeming qualities. No doubt Goldwyn saw this as some sort of a roaring twenties exercise in loose morality, but he only succeeded in creating a caricature of life in the jet-set.
I rated this a 3 only because of the presence of Joan Blondell and Madge Evans who are worth watching. Evans has been described as a "wooden" actress by another writer. In this film, she is the only one with any fire in her demeanor when standing up against Claire busy demonstrating how to chew up the scenery. Evans projects poise, grace, and class... no easy task in this scenario.
A Girl-Girl-Girl Picture - Ask Me No Questions and I'll Tell You No Lies
jayraskin11 August 2012
I saw this on a Mill Creek DVD collection of 50 comedies. As with most cheap Mill Creek public domain film collections, the print was not in great shape. The black and white was muddy and the sound squeaky. I hope some one will release a good print on DVD some day.
I won't repeat what other reviewers have said about the plot. Although it is jumpy and confusing, one does have to give it credit for being fast-paced, original and surprising.
Joan Blondell and Ina Claire do a good job of providing the comedy. Madge Evans is really the straight woman here. She is quite beautiful and glamorous and manages to steal the picture.
Besides these three women actresses, the movie has a lot of witty lies and a nice air of frivolity to it. There are some nice, subtle innuendos here and you do have to pay attention to catch the cleverness of the script.
This is a solid woman's picture from 1932 and there really weren't that many made.
If you have to watch the Mill Creek print, turn up the volume a bit.
I won't repeat what other reviewers have said about the plot. Although it is jumpy and confusing, one does have to give it credit for being fast-paced, original and surprising.
Joan Blondell and Ina Claire do a good job of providing the comedy. Madge Evans is really the straight woman here. She is quite beautiful and glamorous and manages to steal the picture.
Besides these three women actresses, the movie has a lot of witty lies and a nice air of frivolity to it. There are some nice, subtle innuendos here and you do have to pay attention to catch the cleverness of the script.
This is a solid woman's picture from 1932 and there really weren't that many made.
If you have to watch the Mill Creek print, turn up the volume a bit.
Lush, lavish lifestyles these beautiful gold diggers are grabbing for.
cgvsluis15 March 2022
The clothes, coats, hats and jewelry are gorgeous in this 1932 pre-code film that was remade as How To Marry a Millionaire in 1953 with Marilyn Monroe, Lauren Bacall and Betty Grable. The colorized 1953 version had the women being much more overtly calculating in their goal to marry a millionaire. In this pre-code version it was more subtle...they were definitely gold diggers although one genuinely falls in love and wants to marry, it is not as clear that the other two want to marry at all. It seems that they all three like to drink, party and spend other people's money.
It is a lifestyle I guess, but with friends like these...who needs enemies. At least two of them have a fierce competition going and end up sabotaging each other at every opportunity!
Worth seeing for the gorgeous lush clothing...and the three ladies in question, especially Joan Blondel who is an eye catcher in every film she is in...although in this one she had some competition!
It is a lifestyle I guess, but with friends like these...who needs enemies. At least two of them have a fierce competition going and end up sabotaging each other at every opportunity!
Worth seeing for the gorgeous lush clothing...and the three ladies in question, especially Joan Blondel who is an eye catcher in every film she is in...although in this one she had some competition!
While I love Pre-Code films with their wacky sensibilities, this one just should have been written better.
planktonrules2 August 2010
Warning: Spoilers
This film is about three rather mercenary ladies--Ina Claire, Madge Evans and Joan Blondell. Despite being the sort of girls who DO put out in order to get ahead, there is a huge difference between them. Madge plays the nice girl--one with a tarnished past but a heart of gold. Ina plays one who is 100% selfish--and very conniving. And, Joan plays one who just seems to exist--with no discernible personality of her own. She simply plays 'Girl #3'! Throughout the film, Ina schemes and steals men from Madge and it makes no sense at all why Madge and Joan consider Ina to be their friend. In fact, that is a huge problem with the film--Ina's character is just too superficial and unbelievable and everyone's reactions to her are impossible to believe. She is so obviously selfish and rotten but almost every man falls under her spell--but in real life, her transparent personality would prevent this. She was too unlikable, too self-centered and too one-dimensional to be believable. Further, Madge and Joan SHOULD have either slugged her in the mouth or killed her--but in the end, they all have a good laugh and re-affirm their friendships! What a pile of poo!
While I love Pre-Code films and their rather amoral and scandalous attitudes, this one is NOT in the same league as "Red-Headed Woman" or any of the other classic films of this sexy genre. The characters are ridiculous and poorly written--and so the film comes off as a poor man's version of the film style...at best. Not worth watching unless you are a rabid Pre-Code fan.
While I love Pre-Code films and their rather amoral and scandalous attitudes, this one is NOT in the same league as "Red-Headed Woman" or any of the other classic films of this sexy genre. The characters are ridiculous and poorly written--and so the film comes off as a poor man's version of the film style...at best. Not worth watching unless you are a rabid Pre-Code fan.
Ina Claire Wants the World
drednm19 June 2007
Three "former chorus girls" team up to capture rich husbands. But they spend as much time fighting with each other as they do the men they try to snare. This film is based on a a play by Zoe Akins (THE GREEKS HAD A WORD FOR IT) which is also the basis for the softer and more genteel 50s version HOW TO MARRY A MILLIONAIRE.
In this pre-code version, Ina Claire plays the grasping and back-stabbing blonde who will go to any length to get what she wants. Joan Blondell plays the sensible girl (stocks and bonds), and Madge Evans is the sensitive one. All three dish the dirt while they chase after rich David Manners, that is until Claire decides that his daddy is a better catch! Lowell Sherman directs and co-stars as the Russian pianist (from the Bronx) who also dallies with the 3 ladies (and possibly with Manners?).
Ina Claire is totally outrageous here but fun to watch as she chews the scenery. Blondell, Sherman, and Evans are also very good. Manners is rather bland (as usual).
In this pre-code version, Ina Claire plays the grasping and back-stabbing blonde who will go to any length to get what she wants. Joan Blondell plays the sensible girl (stocks and bonds), and Madge Evans is the sensitive one. All three dish the dirt while they chase after rich David Manners, that is until Claire decides that his daddy is a better catch! Lowell Sherman directs and co-stars as the Russian pianist (from the Bronx) who also dallies with the 3 ladies (and possibly with Manners?).
Ina Claire is totally outrageous here but fun to watch as she chews the scenery. Blondell, Sherman, and Evans are also very good. Manners is rather bland (as usual).
Reminiscences of an old era!!
elo-equipamentos16 November 2018
As state in Headline wrote by gideonlp is full of reason where he says "Critics of 2007 do not share same thoughts as 1932", it can explains my feelings over this oldies movies when a low techniques were in early developing, worst an experimental methodology were in progress through by try and error, so it proves by any means that the primitive cinema should be looked by this angle, this is rich and valuable romantic comedy with a peppery of malice ruled in this period before pre-code where arose hypocrites of the good customs to muzzle Hollywood, this picture shall be restored to show up all good things lost in bad shape images, a smart and sexy comedy fairly tasted then and now!!!
Resume:
First watch: 2011 / How many: 2 / Source: DVD / Rating: 7
Resume:
First watch: 2011 / How many: 2 / Source: DVD / Rating: 7
By the way, ladies...there's a word for you but it's not used in polite society...
mark.waltz28 March 2014
Warning: Spoilers
Outside of a kennel!
So said Joan Crawford in "The Women", and for these three gold diggers of 1932 (or at least 2 1/2...one of them prefers to marry for love, preferably a rich man...), that word is totally apropos. These three women band their money from their work in burlesque, the Follies, Earl Carroll's Vanities, the Music Box Revue, or whatever Broadway chorus they were lucky enough to have a part in. The three women are Joan Blondell (an expert on these parts), Ina Claire and Madge Evans, and they are all a total contrast. While Blondell was part of the four Gold Diggers of 1933, her character there had more to do than she does here. She's sort of a den-mother, trying to keep peace between the other two who are total contrasts. Evans is the total good girl-think Ruby Keeler without tap shoes, and when she falls in love with David Manners, she's willing to take him even if his wealthy papa disowns him. On the other hand, Claire is the definite feline of the group who will find a man with money no matter whom she has to eat up and spit out. When first seen, she's convincing a rich man on the cruise ship about to arrive in New York to pay her alcohol bill, and as she tells Manners' wealthy pop later on, "Oh, I never forget a yacht" when recalling him in a newsreel on wealthy business men.
Director Lowell Sherman, veteran lothario from the early 30's, also appears here (as he did in a string of forgotten RKO films) but the focus for once is on the girls. He's just one of the wealthy men caught in the girl's trap, and for once, less of him is more. The three beauties are decked out in the finest of early 30's fashions and Claire gets a brief Medusa look as she is connected to all sorts of contraptions through her tresses. They also strip down to their slips and bras here, showing off their fabulous figures, so this is a pre-code comedy of the highest sort that would soon be pulled out of circulation thanks to that nasty Hays code. Unlike the sin and suffering films of such stars as Kay Francis, Ruth Chatterton and Tallulah Bankhead, this film shows the women having fun and only paying for their sins through some ironic comedy.
Acting honors go to Claire for her bodacious performance as one of the most outlandish gold diggers on stage or screen. This character isn't above framing Evans for taking a pearl necklace just so she can get introduced to Manners' papa. But the tables turn on her as Evans and Blondell get her outrageously drunk and while schnockered, Claire begins to show a human side and reveal where her true loyalties lie, making her all the more realistic and identifiable, yet still a lot of fun. A fun musical score in the background adds to the incredible art deco sets and the fun-loving attitude of the young girls working the Big Apple must have brought some relief to depression weary audiences of the Hoover era which had swept the country's finances under the rug.
So said Joan Crawford in "The Women", and for these three gold diggers of 1932 (or at least 2 1/2...one of them prefers to marry for love, preferably a rich man...), that word is totally apropos. These three women band their money from their work in burlesque, the Follies, Earl Carroll's Vanities, the Music Box Revue, or whatever Broadway chorus they were lucky enough to have a part in. The three women are Joan Blondell (an expert on these parts), Ina Claire and Madge Evans, and they are all a total contrast. While Blondell was part of the four Gold Diggers of 1933, her character there had more to do than she does here. She's sort of a den-mother, trying to keep peace between the other two who are total contrasts. Evans is the total good girl-think Ruby Keeler without tap shoes, and when she falls in love with David Manners, she's willing to take him even if his wealthy papa disowns him. On the other hand, Claire is the definite feline of the group who will find a man with money no matter whom she has to eat up and spit out. When first seen, she's convincing a rich man on the cruise ship about to arrive in New York to pay her alcohol bill, and as she tells Manners' wealthy pop later on, "Oh, I never forget a yacht" when recalling him in a newsreel on wealthy business men.
Director Lowell Sherman, veteran lothario from the early 30's, also appears here (as he did in a string of forgotten RKO films) but the focus for once is on the girls. He's just one of the wealthy men caught in the girl's trap, and for once, less of him is more. The three beauties are decked out in the finest of early 30's fashions and Claire gets a brief Medusa look as she is connected to all sorts of contraptions through her tresses. They also strip down to their slips and bras here, showing off their fabulous figures, so this is a pre-code comedy of the highest sort that would soon be pulled out of circulation thanks to that nasty Hays code. Unlike the sin and suffering films of such stars as Kay Francis, Ruth Chatterton and Tallulah Bankhead, this film shows the women having fun and only paying for their sins through some ironic comedy.
Acting honors go to Claire for her bodacious performance as one of the most outlandish gold diggers on stage or screen. This character isn't above framing Evans for taking a pearl necklace just so she can get introduced to Manners' papa. But the tables turn on her as Evans and Blondell get her outrageously drunk and while schnockered, Claire begins to show a human side and reveal where her true loyalties lie, making her all the more realistic and identifiable, yet still a lot of fun. A fun musical score in the background adds to the incredible art deco sets and the fun-loving attitude of the young girls working the Big Apple must have brought some relief to depression weary audiences of the Hoover era which had swept the country's finances under the rug.
A Rainy Night Diversion
arfdawg-17 February 2017
The Plot.
Sophisticated comedy: a trio of money hungry women who all have sugar daddies who keep them in the lap of luxury, even as they drive the men crazy.
Each woman represents a different personality type, from sensitive, to kind-hearted, to difficult and untrustworthy. Set in the age of jazz, the twenties come roaring back with immorality and in- fighting.
Pre code comedy which translates into bra-less babes bouncing about. Some of the ship scenes are interesting from a historical standpoint seeing how people had to travel back then.
The girls have the same Jean Harlow perm and it's hard to tell them apart.
This movie won't change your life, but it's an OK diversion for a drunken rainy night.
Sophisticated comedy: a trio of money hungry women who all have sugar daddies who keep them in the lap of luxury, even as they drive the men crazy.
Each woman represents a different personality type, from sensitive, to kind-hearted, to difficult and untrustworthy. Set in the age of jazz, the twenties come roaring back with immorality and in- fighting.
Pre code comedy which translates into bra-less babes bouncing about. Some of the ship scenes are interesting from a historical standpoint seeing how people had to travel back then.
The girls have the same Jean Harlow perm and it's hard to tell them apart.
This movie won't change your life, but it's an OK diversion for a drunken rainy night.
Frenemies and the Men they Pursue
view_and_review8 August 2023
Warning: Spoilers
When are frenemies more enemies than friends? I'd say if they break up a happy home they've crossed over clear into enemy territory.
"The Greeks Had a Word for Them" aka "Broadway Girls" starred three friends... er... two friends and one frenemy. Schatzi (Joan Blondell) and Polaire (Madge Evans) were the true friends while Jean Lawrence (Ina Claire) was the backstabbing schemer who feigned friendship.
The movie began with a line stating:
"Throughout the Ages, half of the women of the world have been working women, and the rest of the women have been working men."
It took me a moment, but the old noggin eventually got it. The rest have been "working men" much like a con man works his mark. It's a silly premise for a silly movie.
All three were looking for a successful man to date or marry. Schatzi settled on an older man affectionately called Pops, Polaire was seriously dating a man named Dey Emery (David Manners), while Jean was on the periphery ready to pick off whoever was the best prospect regardless of who claimed him.
Our first introduction to Jean was on a ship. She used her feminine wiles to coax $60 from a man to pay her drink tab. The next time we saw her she was with her pals, Schatzi and Polaire. She and Polaire got into a small fight because Polaire didn't want Jean anywhere around her new beau because she always takes her man.
And she did it again.
Jean was a contemptible gold digger. She barely hid her motives with men, yet they were more than happy to dole out whatever they could just to be in her presence. It was a pathetic scene in which both she and her mark looked pitiful. She for shamelessly hunting for money, and he for shamelessly getting suckered. But like I say, it's all good for a gold digger to fleece her man as long as he's aware that's why she's with him. He's paying for the eye candy and for her to make him feel good, so it's an even exchange.
Jean crossed the line when she interfered with Polaire getting married. She pulled a trick whereby she made it seem as though Polaire stole her pearls. The result was Dey Emery having a lower opinion of Polaire (instead of believing his fiance) after which Polaire walked out on him. Jean then hooked up with Dey's father, Justin (Phillips Smalley), because after seeing her he was horny enough to hump sandpaper.
I could not have been prouder of Polaire and more disgusted with Dey's father. Polaire was rightly upset and disappointed that her own fiance believed a gold digging hussy over her. As for Dey's father, after he gave his son a stern lecture about not letting women use him for his money, he up and proposed to Jean simply because she stood before him in her undergarments.
In the end Jean didn't marry Justin (Phillips Smalley), Dey's father. No, she didn't grow a conscience, she thought there would be more of an opportunity for money with Schatzi and Polaire in France. I kinda wish she would've married Justin and milked him for all he was worth just because a man that gullible should be bilked.
The ending was less than satisfactory. Jean reunited with her two pals, Dey chased down and reunited with Polaire, Justin Emery was saved from marrying a gold digger, and everyone lived happily ever after. In my rewrite Jean would've married Justin and then been his downfall. He would've gone broke then she would've left him to reunite with Schazi and Polaire except they would shun her leaving her to be alone having to work for her pay. Dey would've chased down Polaire to profess his love and how wrong he was, and she would've told him about himself. Polaire and Schazi would then find the loves of their lives and live happily ever after.
Free with Amazon Prime.
"The Greeks Had a Word for Them" aka "Broadway Girls" starred three friends... er... two friends and one frenemy. Schatzi (Joan Blondell) and Polaire (Madge Evans) were the true friends while Jean Lawrence (Ina Claire) was the backstabbing schemer who feigned friendship.
The movie began with a line stating:
"Throughout the Ages, half of the women of the world have been working women, and the rest of the women have been working men."
It took me a moment, but the old noggin eventually got it. The rest have been "working men" much like a con man works his mark. It's a silly premise for a silly movie.
All three were looking for a successful man to date or marry. Schatzi settled on an older man affectionately called Pops, Polaire was seriously dating a man named Dey Emery (David Manners), while Jean was on the periphery ready to pick off whoever was the best prospect regardless of who claimed him.
Our first introduction to Jean was on a ship. She used her feminine wiles to coax $60 from a man to pay her drink tab. The next time we saw her she was with her pals, Schatzi and Polaire. She and Polaire got into a small fight because Polaire didn't want Jean anywhere around her new beau because she always takes her man.
And she did it again.
Jean was a contemptible gold digger. She barely hid her motives with men, yet they were more than happy to dole out whatever they could just to be in her presence. It was a pathetic scene in which both she and her mark looked pitiful. She for shamelessly hunting for money, and he for shamelessly getting suckered. But like I say, it's all good for a gold digger to fleece her man as long as he's aware that's why she's with him. He's paying for the eye candy and for her to make him feel good, so it's an even exchange.
Jean crossed the line when she interfered with Polaire getting married. She pulled a trick whereby she made it seem as though Polaire stole her pearls. The result was Dey Emery having a lower opinion of Polaire (instead of believing his fiance) after which Polaire walked out on him. Jean then hooked up with Dey's father, Justin (Phillips Smalley), because after seeing her he was horny enough to hump sandpaper.
I could not have been prouder of Polaire and more disgusted with Dey's father. Polaire was rightly upset and disappointed that her own fiance believed a gold digging hussy over her. As for Dey's father, after he gave his son a stern lecture about not letting women use him for his money, he up and proposed to Jean simply because she stood before him in her undergarments.
In the end Jean didn't marry Justin (Phillips Smalley), Dey's father. No, she didn't grow a conscience, she thought there would be more of an opportunity for money with Schatzi and Polaire in France. I kinda wish she would've married Justin and milked him for all he was worth just because a man that gullible should be bilked.
The ending was less than satisfactory. Jean reunited with her two pals, Dey chased down and reunited with Polaire, Justin Emery was saved from marrying a gold digger, and everyone lived happily ever after. In my rewrite Jean would've married Justin and then been his downfall. He would've gone broke then she would've left him to reunite with Schazi and Polaire except they would shun her leaving her to be alone having to work for her pay. Dey would've chased down Polaire to profess his love and how wrong he was, and she would've told him about himself. Polaire and Schazi would then find the loves of their lives and live happily ever after.
Free with Amazon Prime.
Penthouse Girls
lugonian17 December 2017
THE GREEKS HAD A WORD FOR THEM (United Artists, 1932), directed by Lowell Sherman, became producer Samuel Goldwyn's contribution to the Warner Brothers "Gold Diggers" comedies from the pre-code era. Following the pattern of Warners' own "The Gold Diggers of Broadway' (1929) and post-edition of "Gold Diggers of 1933," THE GREEKS HAD A WORD FOR THEM is straight comedy, with no staged production numbers involved. Even with the borrowed assistance of Warner Brothers' own Joan Blondell, the story, based on the play "The Greeks Had a Word for It" by Zoe Atkins, follows the pattern of three girl pals and the rich men in their lives. With Madge Evans (from MGM) and Ina Claire completing the rest of the trio known as "The Three Musketeers of Riverside Drive," it's Broadway legend, Ina Claire (in one of her very few film roles), and not the sassy Joan Blondell, who gathers the most attention for both her comedic performance and sassy one-liners that stand out among the rest.
Opening title: "Throughout the ages, half of the women of the world have been working women. And the rest of the women have been working men." Schatze (Joan Blondell), and Polaire (Madge Evans) are former showgirls sharing an apartment in New York City. Arriving home from Paris "broke and disillusioned" is Jean Lawrence (Ina Claire), a gold-digger with the catch phrase of, "Ask me no questions and I'll tell you no lies." With Jean's recent downfall being engaged to a married man, she resumes her manner in nabbing any worthwhile male with pants. While at a speakeasy with her friends, the girls meet Dey Emery (David Manners), a millionaire playboy loved by Schatze, along with his friend, Boris Feldman (Lowell Sherman), a pianist. With Jean relishing the challenge of stealing boyfriends, she captures the attention of Boris, who, in turn, becomes very much interested with Polaire and her piano playing skills. With his attempt to develop her talent and make her rich, Polaire accepts his teaching invitation when she finds Dey shows no interest in asking her to remain with him. Polaire changes her mind when she comes to meet with Boris later that night, only to learn he's spend much of the evening with Jean. As much as Jean has her connections with a sugar daddy named "Pop" (whose character is never seen), she also finds Pop has been seeing Schatze during her absence in Paris, and upon his death, inherited his penthouse. Problems arise when Jean risks her lasting friendship with the girls by framing Polaire as a thief to break her engagement with Dey, only to become interested in Dey's father, Justin (Phillips Smalley), to a point of accepting his proposal of marriage. What further surprises does this "Italian blonde" have for her friends, Schatze and Polaire, must be seen to be believed.
Based on the plot summary, Ina Claire's Jean happens to be the wildest of them all. Joan Blondell is the sensible one who sides with the one she feels is right, while Madge Evans is the good girl-type not afraid to venture to the outside world when the chance allows. Lowell Sherman, who acts as both film director and character performer, resumes his scoundrel type he's been playing dating back to the silent movie era, while David Manners as a rich man's son who feels he has no tie on the girl he loves, is agreeable in his role as well. Others seen in the cast are: Sidney Bracey (The Waiter); Arthur Housman (The Drunk); Charles Coleman (The Butler); and Barbara Weeks (The Beautician).
For anyone unfamiliar with THE GREEKS HAD A WORD FOR THEM, the reissue has been changed to a more familiar title of "Three Broadway Girls" with Joan Blondell rather than Ina Claire heading the cast. The reissue print, now in public domain, is the one that has been released to television (notably public television during the 1980s), as well as video cassette and DVD formats at 79 minutes. Overall, a familiar yet funny screen adaptation to a risqué play of the time that for contemporary movie viewers may seem tame and lackluster today. While some prints may be disturbing to watch due to either poor sound quality or bad picture transformation, it still gets by for its theme reworked many times thereafter, best known being HOW TO MARRY A MILLIONAIRE (20th Century-Fox, 1953) with Betty Grable (Coco), Marilyn Monroe (Pola), and Lauren Bacall (Schatze). Though based on the Zoe Atkins play, both films differ greatly in style and story, with the original Samuel Goldwyn production seemingly more faithful to the stage play than the others, which makes this one acceptable viewing. (***)
Opening title: "Throughout the ages, half of the women of the world have been working women. And the rest of the women have been working men." Schatze (Joan Blondell), and Polaire (Madge Evans) are former showgirls sharing an apartment in New York City. Arriving home from Paris "broke and disillusioned" is Jean Lawrence (Ina Claire), a gold-digger with the catch phrase of, "Ask me no questions and I'll tell you no lies." With Jean's recent downfall being engaged to a married man, she resumes her manner in nabbing any worthwhile male with pants. While at a speakeasy with her friends, the girls meet Dey Emery (David Manners), a millionaire playboy loved by Schatze, along with his friend, Boris Feldman (Lowell Sherman), a pianist. With Jean relishing the challenge of stealing boyfriends, she captures the attention of Boris, who, in turn, becomes very much interested with Polaire and her piano playing skills. With his attempt to develop her talent and make her rich, Polaire accepts his teaching invitation when she finds Dey shows no interest in asking her to remain with him. Polaire changes her mind when she comes to meet with Boris later that night, only to learn he's spend much of the evening with Jean. As much as Jean has her connections with a sugar daddy named "Pop" (whose character is never seen), she also finds Pop has been seeing Schatze during her absence in Paris, and upon his death, inherited his penthouse. Problems arise when Jean risks her lasting friendship with the girls by framing Polaire as a thief to break her engagement with Dey, only to become interested in Dey's father, Justin (Phillips Smalley), to a point of accepting his proposal of marriage. What further surprises does this "Italian blonde" have for her friends, Schatze and Polaire, must be seen to be believed.
Based on the plot summary, Ina Claire's Jean happens to be the wildest of them all. Joan Blondell is the sensible one who sides with the one she feels is right, while Madge Evans is the good girl-type not afraid to venture to the outside world when the chance allows. Lowell Sherman, who acts as both film director and character performer, resumes his scoundrel type he's been playing dating back to the silent movie era, while David Manners as a rich man's son who feels he has no tie on the girl he loves, is agreeable in his role as well. Others seen in the cast are: Sidney Bracey (The Waiter); Arthur Housman (The Drunk); Charles Coleman (The Butler); and Barbara Weeks (The Beautician).
For anyone unfamiliar with THE GREEKS HAD A WORD FOR THEM, the reissue has been changed to a more familiar title of "Three Broadway Girls" with Joan Blondell rather than Ina Claire heading the cast. The reissue print, now in public domain, is the one that has been released to television (notably public television during the 1980s), as well as video cassette and DVD formats at 79 minutes. Overall, a familiar yet funny screen adaptation to a risqué play of the time that for contemporary movie viewers may seem tame and lackluster today. While some prints may be disturbing to watch due to either poor sound quality or bad picture transformation, it still gets by for its theme reworked many times thereafter, best known being HOW TO MARRY A MILLIONAIRE (20th Century-Fox, 1953) with Betty Grable (Coco), Marilyn Monroe (Pola), and Lauren Bacall (Schatze). Though based on the Zoe Atkins play, both films differ greatly in style and story, with the original Samuel Goldwyn production seemingly more faithful to the stage play than the others, which makes this one acceptable viewing. (***)
It's okay, but lacks any real spark
I_Ailurophile27 December 2022
Some older movies are among the very best ever made; more infrequently, some fall direly short of expectations. This one falls somewhere in the unremarkable middle: lightly amusing, with occasional especial cleverness, but ninety years later, ultimately not making much of an impression. There's no real spark to foster utmost active engagement or demand viewership; most scenes just blithely float on by for the viewer, and while moments of raised voices, argument, or overlapping voices are intended for laughs, the cacophony instead just becomes rather grating. The scenario is, in fact, built for humor, what with cheeky deception, scheming, backstabbing, and angling to land a marriage - yet there's a bit too much zip in the direction (informing delivery of lines, performances, the execution of scenes generally) that serves to quash any sense of comedic timing, and the same is true broadly of the tone of the film, too even-handed and unbothered for its own good. 'The Greeks had a word for them' is very mildly enjoyable, yet there's nothing about it that will help the picture to stand out among its many contemporaries and successors.
Speaking of "standing out": it's no particular fault of anyone involved - the casting director, the hair and makeup artists, least of all the actors themselves - but men and women alike are mostly indistinguishable, just a face in the crowd. It doesn't help that when all is said and done, the three main characters bear personalities and dispositions that are, after all, very similar. To whatever extent the characters do somewhat stand apart from one another at all is a credit to Sidney Howard's writing, I suppose, yet at large these feed into the feeling that the feature has no special claim to fame, or even its own identity. For lack of major vibrancy, all the back and forth in the dialogue, scene writing, and overall narrative becomes not fun, or even just interesting, but instead just kind of tiring. I think stars Joan Blondell, Ina Claire, and Madge Evans do turn in spirited acting that tells me they'd be a joy to watch in another film that lets them shine more brightly. As it stands, I think director Lowell Sherman just lacked the nuance and mindfulness to best capitalize on all the best potential of the material and his cast.
To be clear, I do sort of like this. Of anything, I most appreciate the production design and art direction, and the costume design. It's a fairly forgettable viewing experience, but it's not a bad one; it's a pleasant way to spend eighty minutes. For that matter, maybe I'm being too harsh; maybe there was some limiting factor I'm not aware of in the moment I sat to watch this, such that to give it another try would allow me to enjoy it more. At the same time, there have been some movies I've genuinely fallen asleep in the middle of, and upon waking and finishing them, still found them to be outstanding. This is so middle-of-the-road that it's hard to specifically give a recommendation, seeing as how there are countless other titles that are more immediately deserving. Still, I hope other folks get more out of 'The Greeks had a word for them' than I did, and even if it continues to dwell in a so-so no man's land, there are far worse ways to spend one's time. Don't go out of your way for it, and don't expect a life-changing picture, but if you happen to come across this and are looking for something light, it's decent enough to watch.
Speaking of "standing out": it's no particular fault of anyone involved - the casting director, the hair and makeup artists, least of all the actors themselves - but men and women alike are mostly indistinguishable, just a face in the crowd. It doesn't help that when all is said and done, the three main characters bear personalities and dispositions that are, after all, very similar. To whatever extent the characters do somewhat stand apart from one another at all is a credit to Sidney Howard's writing, I suppose, yet at large these feed into the feeling that the feature has no special claim to fame, or even its own identity. For lack of major vibrancy, all the back and forth in the dialogue, scene writing, and overall narrative becomes not fun, or even just interesting, but instead just kind of tiring. I think stars Joan Blondell, Ina Claire, and Madge Evans do turn in spirited acting that tells me they'd be a joy to watch in another film that lets them shine more brightly. As it stands, I think director Lowell Sherman just lacked the nuance and mindfulness to best capitalize on all the best potential of the material and his cast.
To be clear, I do sort of like this. Of anything, I most appreciate the production design and art direction, and the costume design. It's a fairly forgettable viewing experience, but it's not a bad one; it's a pleasant way to spend eighty minutes. For that matter, maybe I'm being too harsh; maybe there was some limiting factor I'm not aware of in the moment I sat to watch this, such that to give it another try would allow me to enjoy it more. At the same time, there have been some movies I've genuinely fallen asleep in the middle of, and upon waking and finishing them, still found them to be outstanding. This is so middle-of-the-road that it's hard to specifically give a recommendation, seeing as how there are countless other titles that are more immediately deserving. Still, I hope other folks get more out of 'The Greeks had a word for them' than I did, and even if it continues to dwell in a so-so no man's land, there are far worse ways to spend one's time. Don't go out of your way for it, and don't expect a life-changing picture, but if you happen to come across this and are looking for something light, it's decent enough to watch.
Three Broadway Girls had some witty lines but the situations confused me
tavm8 August 2007
I bought a $1 DVD that had two movies about a year ago. The movies were Happy Go Lovely and this one, Three Broadway Girls. This tale of three lady friends who try to one-up each other in attracting rich men has some witticisms about them and the leads of Joan Blondell, Ina Claire, and Madge Evans are pretty good. It's the situations that got me a little confused and possibly bored since I almost fell asleep a couple of times. I suppose I could try to watch this again when I'm more alert and I think of how the plot plays out in my mind. Maybe by then, this would play a little better in my mind. Right now though, I'm giving this a 3. By the way, for Laurel and Hardy fans, Arthur Housman does appear in his usual drunk role here.
The best plot and acting of any film of this type
SimonJack18 April 2024
Warning: Spoilers
The 1930s had a plethora of three types of films that were seldom made after that. They were: (1) the shooting gangster flicks; (2) the high night life of the idle rich; and (3) the young girls who left small towns for a chance at fame or wealth. In some ways, these were a product of the times. Prohibition had just come to an end, but the organized crime that it spawned was well entrenched, and many movies were made from that. Then, the Great Depression was felt everywhere - well, just about everywhere. There still were the wealthy who were above all this - those who hadn't lost everything in the stock market crash. And movies about people who were enjoying the high life were escapist fodder for many audiences.
In that last group, the girls who left home to score in the big city, there were three or four sub groups. Some girls wanted to find good jobs, try to get ahead, and meet Mister Right with whom to marry and settle down. Some had stars in their eyes and hoped to make it big on Broadway or as entertainers. And one group was women who just wanted to find rich men to live off of, and even marry. "The Greeks Had a Word for Them," is about the latter. And the Greek word probably translates to two words in English - gold diggers.
Well, this movie that also went by the title, "Three Broadway Girls," may be the best portrayal of the lot. The plot centers around three single girls who had met in New York, became friends and roomed together. They present a mix of the young ladies who venture to the city for their futures. Polaire Quinn and Schatzi Sutro have an an unseen elderly patron, "Pops," who helps them out in a pinch, between the roles they could get in shows. Polaire has a steady guy, the son of a wealthy man, but she isn't after his money. Schatzi doesn't have anyone in tow, but has a working stiff who would like to be her guy.
These two have been rooming for some time while a third girlfriend, Jean Lawrence, has been in Paris, living it up and pursing a wealthy title or two. But Jean is coming home and Polaire and Schatzi are going to meet her at the docks. Before this film is through, Jean will display her masterful talents of gold digging that will put all others to shame. And, in the process stomp on her friends and break up their chances for love and romance, at least once.
This film is loaded with comedy, but a warning is in order. It takes the right frame of mind to see and enjoy the humor. Jean's portrayal and behavior with her two friends is anything but good and proper for bosom buddies. Seeing this as a serious film, one might want to yell at Polaire and Schatzi to get rid of Jean, or imagine their doing her in. But that would miss the very good, subtle and dog-eat-dog humor that Samuel Goldwyn and his writers came up with.
There's no doubt that this is a masterful plot. Zoe Akins and Sidney Howard were very adept screenwriters. Each wrote many good films in various genres. They each had several smash comedies. Akins wrote for many years and was a poet and journalist besides. Her comedy scripts included "My Man Godfrey" in 1936, and two more films about women gold diggers - "Girls About Town" of 1931, and "How to Marry a Millionaire" of 1953.
Howard died early from a farm accident at age 46. But not before he had won an Academy Award for "Gone with the Wind" in 1940, and two more Oscar nominations for "Arrowsmith" in 1932 and "Dodsworth" in 1937. Among his great comedy scripts were "Nothing Sacred" of 1937 and "He Stayed for Breakfast" of 1940. He also wrote the screenplays for two of the British caper comedies of "Raffles" in 1930 and 1939.
The three women who play the leads in this film were perfect in their parts. Joan Blondell had top billing as Schatzi and was the best known, as she probably is yet today. Madge Evans played Polaire. She made more movies than the others - 100 credits in all, but Evans wasn't especially adept at comedy. She made many serious and dramatic films But the one roll that really puts this film over is that of Jean played so superbly by Ina Claire. She would be the least known among movie goers, but certainly not among the theater crowds.
Ina Claire was a well-known stage actress for the first half of the 20th century. She became best known for her sophisticated comedy. She made only 12 films in her career, four of them were silent films. Her most memorable and familiar film to movie buffs will be "Ninotchka" of 1939. Her second female lead as Swana, behind Greta Garbo, shows her edge in biting humor. But in this earlier comedy Claire's comedy is subtle and wily, both in verse and looks.
Another little plus in this film is in the director, Lowell Sherman, also playing the second male lead as Boris Feldman. Sherman had a fine double career in films but died young from pneumonia - at age 46.
Here are some favorite lines from this film.
Jean Lawrence, "You gonna make me believe that I've bought $43 worth of liquor since I've been on this boat?" Waiter, "Oh, no, madame. These are only the drinks you haven't paid for yet."
Jean, "Say, whatta you do?" Boris Feldman, "I play the piano." Jean, "Is that all?" Boris, "Well, I took tambourine lessons, but I gave them up when I was very young." Jean, "Oh, dear - a comic as well." Polaire Quinn, "He happens to play a little better than anyone else in the world."
In that last group, the girls who left home to score in the big city, there were three or four sub groups. Some girls wanted to find good jobs, try to get ahead, and meet Mister Right with whom to marry and settle down. Some had stars in their eyes and hoped to make it big on Broadway or as entertainers. And one group was women who just wanted to find rich men to live off of, and even marry. "The Greeks Had a Word for Them," is about the latter. And the Greek word probably translates to two words in English - gold diggers.
Well, this movie that also went by the title, "Three Broadway Girls," may be the best portrayal of the lot. The plot centers around three single girls who had met in New York, became friends and roomed together. They present a mix of the young ladies who venture to the city for their futures. Polaire Quinn and Schatzi Sutro have an an unseen elderly patron, "Pops," who helps them out in a pinch, between the roles they could get in shows. Polaire has a steady guy, the son of a wealthy man, but she isn't after his money. Schatzi doesn't have anyone in tow, but has a working stiff who would like to be her guy.
These two have been rooming for some time while a third girlfriend, Jean Lawrence, has been in Paris, living it up and pursing a wealthy title or two. But Jean is coming home and Polaire and Schatzi are going to meet her at the docks. Before this film is through, Jean will display her masterful talents of gold digging that will put all others to shame. And, in the process stomp on her friends and break up their chances for love and romance, at least once.
This film is loaded with comedy, but a warning is in order. It takes the right frame of mind to see and enjoy the humor. Jean's portrayal and behavior with her two friends is anything but good and proper for bosom buddies. Seeing this as a serious film, one might want to yell at Polaire and Schatzi to get rid of Jean, or imagine their doing her in. But that would miss the very good, subtle and dog-eat-dog humor that Samuel Goldwyn and his writers came up with.
There's no doubt that this is a masterful plot. Zoe Akins and Sidney Howard were very adept screenwriters. Each wrote many good films in various genres. They each had several smash comedies. Akins wrote for many years and was a poet and journalist besides. Her comedy scripts included "My Man Godfrey" in 1936, and two more films about women gold diggers - "Girls About Town" of 1931, and "How to Marry a Millionaire" of 1953.
Howard died early from a farm accident at age 46. But not before he had won an Academy Award for "Gone with the Wind" in 1940, and two more Oscar nominations for "Arrowsmith" in 1932 and "Dodsworth" in 1937. Among his great comedy scripts were "Nothing Sacred" of 1937 and "He Stayed for Breakfast" of 1940. He also wrote the screenplays for two of the British caper comedies of "Raffles" in 1930 and 1939.
The three women who play the leads in this film were perfect in their parts. Joan Blondell had top billing as Schatzi and was the best known, as she probably is yet today. Madge Evans played Polaire. She made more movies than the others - 100 credits in all, but Evans wasn't especially adept at comedy. She made many serious and dramatic films But the one roll that really puts this film over is that of Jean played so superbly by Ina Claire. She would be the least known among movie goers, but certainly not among the theater crowds.
Ina Claire was a well-known stage actress for the first half of the 20th century. She became best known for her sophisticated comedy. She made only 12 films in her career, four of them were silent films. Her most memorable and familiar film to movie buffs will be "Ninotchka" of 1939. Her second female lead as Swana, behind Greta Garbo, shows her edge in biting humor. But in this earlier comedy Claire's comedy is subtle and wily, both in verse and looks.
Another little plus in this film is in the director, Lowell Sherman, also playing the second male lead as Boris Feldman. Sherman had a fine double career in films but died young from pneumonia - at age 46.
Here are some favorite lines from this film.
Jean Lawrence, "You gonna make me believe that I've bought $43 worth of liquor since I've been on this boat?" Waiter, "Oh, no, madame. These are only the drinks you haven't paid for yet."
Jean, "Say, whatta you do?" Boris Feldman, "I play the piano." Jean, "Is that all?" Boris, "Well, I took tambourine lessons, but I gave them up when I was very young." Jean, "Oh, dear - a comic as well." Polaire Quinn, "He happens to play a little better than anyone else in the world."
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