In this story we have a unique female protagonist. She's not exactly a homemaker. She's a morally challenged woman who gives men the sort of personality makeovers they need. And for that, they're eternally grateful.
There are plenty of sexist stereotypes on display. First, it is primarily a woman's job to direct the course of a man's life. Never mind her life. And Wynne Gibson's character here sure could use some direction herself-- she lies, she trespasses, she puts the moves on another gal's fiance, and she is not above conning her way into someone's bed, staying for breakfast the next morning.
The men are male stereotypes of the highest order. One is a rough and tumble blue collar dude (William Gargan) who engages in public brawls and winds up in the slammer after assaulting some cops, plural. I find Mr. Gargan a tad miscast; he doesn't strike me as a real he-man of the universe. Charles Bickford, known for physical altercations in Hollywood, would have been ideal.
Charles Farrell plays the other guy. He's an overly refined Richie Rich-- not a a snob, almost afraid of his own shadow. The sissified aspects of his character are meant to contrast sharply with Gargan's.
With the help of her housekeeper sister (ZaSu Pitts), Gibson takes refuge in Farrell's place during a storm. She forges an unlikely friendship with him, and things turn romantic after she teaches him how to be more of a man, ahem. Since this is a precode, she parades around in skimpy undergarments. We see him trying to resist his most basic urges; and that leads to a scene up on a rooftop where he confesses some of the feelings he has for her.
Meanwhile Gargan is released from prison, and he attempts to reconcile with Gibson. Complicating matters is the arrival of Farrell's posh fiancee (Betty Furness) as well as a stern auntie (Blanche Friderici) who severely disapproves of Gibson. Yes, these are exaggerated stock characters.
In some ways, it's an RKO production that feels like the type of picture Warner Brothers was making at this time. If it had been produced a short time later, RKO's new star Ginger Rogers would likely have played the title role. I particularly enjoyed the cleverness of the scenario, how the men sort of reverse themselves.
Gibson stays with Gargan in the end. However, I bet if there had been a sequel, she would've ultimately reversed herself and gone back to Farrell.
There are plenty of sexist stereotypes on display. First, it is primarily a woman's job to direct the course of a man's life. Never mind her life. And Wynne Gibson's character here sure could use some direction herself-- she lies, she trespasses, she puts the moves on another gal's fiance, and she is not above conning her way into someone's bed, staying for breakfast the next morning.
The men are male stereotypes of the highest order. One is a rough and tumble blue collar dude (William Gargan) who engages in public brawls and winds up in the slammer after assaulting some cops, plural. I find Mr. Gargan a tad miscast; he doesn't strike me as a real he-man of the universe. Charles Bickford, known for physical altercations in Hollywood, would have been ideal.
Charles Farrell plays the other guy. He's an overly refined Richie Rich-- not a a snob, almost afraid of his own shadow. The sissified aspects of his character are meant to contrast sharply with Gargan's.
With the help of her housekeeper sister (ZaSu Pitts), Gibson takes refuge in Farrell's place during a storm. She forges an unlikely friendship with him, and things turn romantic after she teaches him how to be more of a man, ahem. Since this is a precode, she parades around in skimpy undergarments. We see him trying to resist his most basic urges; and that leads to a scene up on a rooftop where he confesses some of the feelings he has for her.
Meanwhile Gargan is released from prison, and he attempts to reconcile with Gibson. Complicating matters is the arrival of Farrell's posh fiancee (Betty Furness) as well as a stern auntie (Blanche Friderici) who severely disapproves of Gibson. Yes, these are exaggerated stock characters.
In some ways, it's an RKO production that feels like the type of picture Warner Brothers was making at this time. If it had been produced a short time later, RKO's new star Ginger Rogers would likely have played the title role. I particularly enjoyed the cleverness of the scenario, how the men sort of reverse themselves.
Gibson stays with Gargan in the end. However, I bet if there had been a sequel, she would've ultimately reversed herself and gone back to Farrell.