Of course I'd have to watch the other seven Joan Crawford/Clark Gable movies to determine if they all ended the same way but I could tell what was coming in this delightful 1934 romantic drama that pulls out all the stops to bring out the handkerchiefs. But when Garland sang "Dear Mr. Gable" in "Broadway Melody of 1938" and mention Joan Crawford, it stirred up memories of a heat that probably had Louis B. Mayer squirming due to his knowledge of their personal relationship.
The film starts off awkwardly with Crawford involved with the Unhappily Married Otto Kruger, a happy-go-lucky older businessman whose wife Marjorie Gateson has been away and who upon her return from Europe refuses to give him a divorce. Needing time to let the scandal Gateson threatens him with to settle down, Kruger sends Joan off on a cruise where she meets the handsome Clark Gable. At first snubbing him, she quickly falls prey to his charms and they end up having an affair mixed with romance and humor that accelerates the sparks. But her return to New York to end her relationship with Kruger for good fails because of knows he presented her with and his obvious devotion to her. Gable gets another letter, unlike the one from Judy Garland, that leaves him embittered, and unprepared for a sudden encounter with Joan when he visits New York.
To watch the Crawford and Gable romance blossom in this film is delight, especially in the scene when they try to outrun two inquisitive nosy old ladies who are literally chasing them around the decks of the cruise ship. It is obvious that their romance was inevitable and that Crawford's respectful relationship with Kruger would end up with both pity and resentment. That leads to the haunting conclusion that will definitely require a dab of the eyes.
Funny man Stuart Erwin provides find support as Gable's buddy who both admires and resents Joan for bringing love into Gable's life and distracting him from their friendship. His character is very human in his jealousy and gets a few good cracks in at Joan's expense. Una O'Connor is seen briefly as her companion, hired by Kruger, and in full knowledge of the affair but not breathing a word to expose it. The glitz and glamour of this early code MGM drama has enough sparkle to be deliciously frank in its obvious sexual overtones, but obviously had to be somewhat altered as films just a year before this were much racier then this. I can see why films like this were top box office draws and they truly stand the test of time and their emotional power, especially thanks to the chemistry of the gorgeous leads.
The film starts off awkwardly with Crawford involved with the Unhappily Married Otto Kruger, a happy-go-lucky older businessman whose wife Marjorie Gateson has been away and who upon her return from Europe refuses to give him a divorce. Needing time to let the scandal Gateson threatens him with to settle down, Kruger sends Joan off on a cruise where she meets the handsome Clark Gable. At first snubbing him, she quickly falls prey to his charms and they end up having an affair mixed with romance and humor that accelerates the sparks. But her return to New York to end her relationship with Kruger for good fails because of knows he presented her with and his obvious devotion to her. Gable gets another letter, unlike the one from Judy Garland, that leaves him embittered, and unprepared for a sudden encounter with Joan when he visits New York.
To watch the Crawford and Gable romance blossom in this film is delight, especially in the scene when they try to outrun two inquisitive nosy old ladies who are literally chasing them around the decks of the cruise ship. It is obvious that their romance was inevitable and that Crawford's respectful relationship with Kruger would end up with both pity and resentment. That leads to the haunting conclusion that will definitely require a dab of the eyes.
Funny man Stuart Erwin provides find support as Gable's buddy who both admires and resents Joan for bringing love into Gable's life and distracting him from their friendship. His character is very human in his jealousy and gets a few good cracks in at Joan's expense. Una O'Connor is seen briefly as her companion, hired by Kruger, and in full knowledge of the affair but not breathing a word to expose it. The glitz and glamour of this early code MGM drama has enough sparkle to be deliciously frank in its obvious sexual overtones, but obviously had to be somewhat altered as films just a year before this were much racier then this. I can see why films like this were top box office draws and they truly stand the test of time and their emotional power, especially thanks to the chemistry of the gorgeous leads.