As I'm finding is usual with Frank Borzage films I've watched recently, there's more here than first meets the eye. At its heart is a love triangle of sorts initially involving Joan Crawford and Alan Curtis but later adding in Spencer Tracy.
Crawford is the beating heart of the movie. A hard-working dancer, she faithfully takes her unopened pay-packet home to her mum in the family apartment on the poor side of town. Her dad is unemployed and basically sits about the flat reading his paper expecting to be waited on hand and foot by his wife. Alongside him, fulfilling a similar function, is Crawford's feckless and cynical younger brother but worse yet is the guy with whom she's loved-up and engaged.
This is Curtis's unsteady Eddie, selfish and grasping, well-balanced as the saying goes, with a chip on both shoulders. He's going to take the quickest way to easy money and doesn't mind using Joanie any way he can to get there. Joan can't see this of course and despite her mother's "Don't do as I did" warnings, duly marries Eddie, but at their reception, Tracy's wealthy shipping magnate John L Hennessy also happens to be there, where he's immediately smitten by Crawford.
We see Tracy in place as a benevolent boss, playing fair with his employees but in a sign of the times, there are hints of discontent especially as the labour is unionised. Thoughts of Joan distract him from his work and of course she's unattainable, given that she's married and apparently in love with Curtis, but it's not long before hubby starts to show his true colours and concocts a seedy plan to use her to entrap Tracy in a get-Eddie-rich ruse.
Things don't go according to plan however, as he doesn't count either on the scales finally falling from Crawford's eyes where he himself is concerned or her developing feelings for the blindly adoring Tracy. At the same time though, things aren't going so well for Tracy's business leading to a multi-faceted ending where the true price of love is learned by the principals.
The love story aspect isn't without cliché, reflective as it is of the Depression-era backdrop. It's interesting and diverting enough but certainly somewhat fantastical. There are some nicely humorous touches, one scene in particular when Crawford, by now working as a clothes-store mannequin, models a number of day-wear outfits at a fashion show as an ever-more interested Tracy looks on, especially keen to see what she wears to bed. However I was probably more interested in the back story of Tracy and his relationship with his workers. At the climactic scene where he confronts them at a mass meeting after they've come out on a sympathy strike, he doesn't threaten or bully them but instead respects their position no matter the personal consequences to him.
I am finding Borzage to be an interesting Hollywood Golden Age director. Sure, there's a love story at the heart of all the movies of his that I've seen, but it's the serious stuff in the background which really gets my attention. Tracy and Crawford are both excellent in their parts, while Curtis too registers strongly as Eddie the Heel.
All in all, an entertaining and in its own modest way, educational movie with its depictions of working class life and industrial relations of the time.
Crawford is the beating heart of the movie. A hard-working dancer, she faithfully takes her unopened pay-packet home to her mum in the family apartment on the poor side of town. Her dad is unemployed and basically sits about the flat reading his paper expecting to be waited on hand and foot by his wife. Alongside him, fulfilling a similar function, is Crawford's feckless and cynical younger brother but worse yet is the guy with whom she's loved-up and engaged.
This is Curtis's unsteady Eddie, selfish and grasping, well-balanced as the saying goes, with a chip on both shoulders. He's going to take the quickest way to easy money and doesn't mind using Joanie any way he can to get there. Joan can't see this of course and despite her mother's "Don't do as I did" warnings, duly marries Eddie, but at their reception, Tracy's wealthy shipping magnate John L Hennessy also happens to be there, where he's immediately smitten by Crawford.
We see Tracy in place as a benevolent boss, playing fair with his employees but in a sign of the times, there are hints of discontent especially as the labour is unionised. Thoughts of Joan distract him from his work and of course she's unattainable, given that she's married and apparently in love with Curtis, but it's not long before hubby starts to show his true colours and concocts a seedy plan to use her to entrap Tracy in a get-Eddie-rich ruse.
Things don't go according to plan however, as he doesn't count either on the scales finally falling from Crawford's eyes where he himself is concerned or her developing feelings for the blindly adoring Tracy. At the same time though, things aren't going so well for Tracy's business leading to a multi-faceted ending where the true price of love is learned by the principals.
The love story aspect isn't without cliché, reflective as it is of the Depression-era backdrop. It's interesting and diverting enough but certainly somewhat fantastical. There are some nicely humorous touches, one scene in particular when Crawford, by now working as a clothes-store mannequin, models a number of day-wear outfits at a fashion show as an ever-more interested Tracy looks on, especially keen to see what she wears to bed. However I was probably more interested in the back story of Tracy and his relationship with his workers. At the climactic scene where he confronts them at a mass meeting after they've come out on a sympathy strike, he doesn't threaten or bully them but instead respects their position no matter the personal consequences to him.
I am finding Borzage to be an interesting Hollywood Golden Age director. Sure, there's a love story at the heart of all the movies of his that I've seen, but it's the serious stuff in the background which really gets my attention. Tracy and Crawford are both excellent in their parts, while Curtis too registers strongly as Eddie the Heel.
All in all, an entertaining and in its own modest way, educational movie with its depictions of working class life and industrial relations of the time.