Screenwriter Robert Riskin may be best known for his collaborations with director Frank Capra, but this well written, character driven melodrama will make you want to check out his other credits. The always terrific Carole Lombard is the tough but sweet woman with a past, and Pat O'Brien is her man, a soft-hearted blowhard. Mayo Methot is Lombard's world weary best pal, and Jack LaRue is her good looking but dumb as a box of hammers gangster boyfriend. Walking cliches, one would expect, but the script is careful with details, and the characters act logically and believably, even in the most unbelievable situations. The good writing clearly energizes the actors, with O'Brien and Methot, in particular, rising to the occasion. You might come away suspecting that Robert Riskin just may be more interesting than Frank Capra.
28 Reviews
The Cabbie And The Streetwalker
bkoganbing20 October 2008
On loan from her home studio of Paramount Pictures, Carole Lombard made this film with rising new star Pat O'Brien who next year would be signing with Warner Brothers. It's the story of a streetwalker who falls for a lovable lunkhead of a taxi driver, but whose past keeps catching up with her.
Virtue could not have been made in two years once the Code was firmly in place. Prostitutes were barely seen on the big screen after that and definitely no stories were built around them as central characters.
Lombard and a group of her friends are given suspended sentences providing they leave the New York City limits. But the course of true love gets in the way when she meets O'Brien and almost gyps him out of a fare.
O'Brien somewhat dumbs it down in this part. He's not the usual fast talking promoter in fact his grammar and diction are about two steps above Leo Gorcey. It was more the kind of role his boyhood chum Spencer Tracy was doing over at Fox Films at the time. Still he's a good guy and comes through when it counts.
Humphrey Bogart's third wife Mayo Methot plays Lombard's best friend and Jack LaRue her no good boyfriend. Ward Bond is also on hand as O'Brien's best friend in one of his early films. Bond if possible is an even bigger lovable lunkhead than O'Brien.
With a nice crisp script by Robert Riskin who wrote some of the best of Frank Capra's films, Virtue is a real undiscovered treat for fans of both Lombard and O'Brien. Catch it by all means when it is next broadcast.
Virtue could not have been made in two years once the Code was firmly in place. Prostitutes were barely seen on the big screen after that and definitely no stories were built around them as central characters.
Lombard and a group of her friends are given suspended sentences providing they leave the New York City limits. But the course of true love gets in the way when she meets O'Brien and almost gyps him out of a fare.
O'Brien somewhat dumbs it down in this part. He's not the usual fast talking promoter in fact his grammar and diction are about two steps above Leo Gorcey. It was more the kind of role his boyhood chum Spencer Tracy was doing over at Fox Films at the time. Still he's a good guy and comes through when it counts.
Humphrey Bogart's third wife Mayo Methot plays Lombard's best friend and Jack LaRue her no good boyfriend. Ward Bond is also on hand as O'Brien's best friend in one of his early films. Bond if possible is an even bigger lovable lunkhead than O'Brien.
With a nice crisp script by Robert Riskin who wrote some of the best of Frank Capra's films, Virtue is a real undiscovered treat for fans of both Lombard and O'Brien. Catch it by all means when it is next broadcast.
Love in conflict with reality; or ones perception of it.
elginbrod20008 May 2005
I liked this little movie quite a lot. It has a substance and quality that some of Lombard's other early movies lack. It is obvious that some care was taken with this screenplay. I would say that the key word for this film is "misunderstanding". It explores the question of whether someone can escape their past and whether love conquers all. This is the first of five pictures that Lombard would make for Columbia Pictures.
The chemistry is good between Pat O'Brien who plays "Jimmy" the cabdriver and Carole Lombard who plays "Mae" the street-girl. Mae's sentence has been suspended by the Judge on the condition that she leave New York City. Of course she refuses. On her way home she takes a cab, but has no money to pay. She stiffs the cabdriver. Later she goes back to square things and a relationship develops between the two. We watch these two grow closer and more dependent on each other, we root for Jimmy as he struggles to fulfill his dream to become a business man, and we cry as a financial crisis and murder come between them.
The chemistry is good between Pat O'Brien who plays "Jimmy" the cabdriver and Carole Lombard who plays "Mae" the street-girl. Mae's sentence has been suspended by the Judge on the condition that she leave New York City. Of course she refuses. On her way home she takes a cab, but has no money to pay. She stiffs the cabdriver. Later she goes back to square things and a relationship develops between the two. We watch these two grow closer and more dependent on each other, we root for Jimmy as he struggles to fulfill his dream to become a business man, and we cry as a financial crisis and murder come between them.
Good Acting -- Pretty Good Script
alonzoiii-117 December 2007
This movie asks that not unusual pre-Code movie question -- can a woman live down her tawdry past by marrying a good-hearted lout? And, while there is the usual collection of misunderstandings and Plot Contrivances, some really sharp acting out of Lombard and (of all people) Pat O'Brien. Also helpful is that this movie never loses sight of its emotional core, the understandably troubled relationship between Lombard and O'Brien. Also interesting is that Mayo Methot (the future battling Bogart) gets a far larger role than is usual -- and is good in it. Ward Bond also appears.
See this if you want to see Pat O'Brien do perhaps his best take on his urban loud-mouth with a heart of mush character. Maybe he is reacting to the genuine warmth coming off of Lombard's character. But it's unusual to see a Columbia movie of this vintage this well-acted, outside of Capra and Stanwyck.
Definitely worth a look. But don't really look for surprises in the plot. That is standard order for one of these ex-fallen-woman numbers.
See this if you want to see Pat O'Brien do perhaps his best take on his urban loud-mouth with a heart of mush character. Maybe he is reacting to the genuine warmth coming off of Lombard's character. But it's unusual to see a Columbia movie of this vintage this well-acted, outside of Capra and Stanwyck.
Definitely worth a look. But don't really look for surprises in the plot. That is standard order for one of these ex-fallen-woman numbers.
Good precode with a beautiful Lombard
blanche-220 December 2008
Carole Lombard and Pat O'Brien star in "Virtue," a 1932 pre-code film featuring Ward Bond, Mayo Methot and Jack LaRue. Robert Riskin wrote the script and Lombard is a prostitute who's thrown out of New York - escorted onto the train, in fact, by a policeman - but she gets off at another city stop and stays in town. She meets and eventually marries a cab driver (O'Brien) who has no idea of her past. When he finds out, he's upset, but he's really in love with her, and they stay together. Then she's implicated in a murder.
"Virtue" moves at a fast pace, has very good dialogue, and Lombard gives an excellent performance as a street smart woman who falls in love unexpectedly. She's very beautiful and quite sophisticated in appearance, though her comrades in the streetwalker trade seem a lot lower class. Pat O'Brien, who worked into his eighties and usually played the best friend to someone like Jimmy Cagney, does a good job in a rare leading role for him.
Since the film is precode, it contains a lot of innuendo, my favorite being O'Brien's advice to Ward Bond, who wants to get married. "It's your doughnut," O'Brien says. "Dunk it."
"Virtue" moves at a fast pace, has very good dialogue, and Lombard gives an excellent performance as a street smart woman who falls in love unexpectedly. She's very beautiful and quite sophisticated in appearance, though her comrades in the streetwalker trade seem a lot lower class. Pat O'Brien, who worked into his eighties and usually played the best friend to someone like Jimmy Cagney, does a good job in a rare leading role for him.
Since the film is precode, it contains a lot of innuendo, my favorite being O'Brien's advice to Ward Bond, who wants to get married. "It's your doughnut," O'Brien says. "Dunk it."
First Part Shines
dougdoepke29 July 2009
No need to recap the plot. Pre-code movies are almost all interesting, but this one doesn't reach the level of hidden gem. (Check out Night Nurse {1931} or Employees Entrance {1933} for examples of pre-Code sleepers.) Virtue is a well-acted, involving feature with some clever innuendo. However, developments get pretty contrived toward the end with an outcome that's all too predictable. In short, despite some adult-level boldness, the final result is too similar to movies made after the Code to really distinguish itself from the pack.
Lombard is winning as the reformed hooker; however, she plays it straight, so this is not one of her signature madcap roles, to say the least. I agree with the reviewer who singles out Methot's performance as especially good. Her role here is the first time I've seen her and I'm impressed. She manages to make the betrayal of the gigolo Toots O'Neill deliciously believable in the midst of a pretty contrived murder sequence.
Be sure to cock an ear to the first 15 minutes. That's where Rifkin's dialogue really shines with a number of fast-moving innuendoes. Once the two lovebirds get hitched, the patter settles into a more conventional mode. Good thing O'Brien's not supposed to be rich because this is a pretty cheap production. The newly-wed's cold water flat is fine, but check out the "casino"—a heavy curtain, a bare table, and a chuck-a-luck. So I guess we're supposed to use our imagination. However, despite the flaws, the movie remains an entertaining 70 minutes.
Lombard is winning as the reformed hooker; however, she plays it straight, so this is not one of her signature madcap roles, to say the least. I agree with the reviewer who singles out Methot's performance as especially good. Her role here is the first time I've seen her and I'm impressed. She manages to make the betrayal of the gigolo Toots O'Neill deliciously believable in the midst of a pretty contrived murder sequence.
Be sure to cock an ear to the first 15 minutes. That's where Rifkin's dialogue really shines with a number of fast-moving innuendoes. Once the two lovebirds get hitched, the patter settles into a more conventional mode. Good thing O'Brien's not supposed to be rich because this is a pretty cheap production. The newly-wed's cold water flat is fine, but check out the "casino"—a heavy curtain, a bare table, and a chuck-a-luck. So I guess we're supposed to use our imagination. However, despite the flaws, the movie remains an entertaining 70 minutes.
hard boiled drama with a heart
didi-519 October 2008
Warning: Spoilers
'Virtue', scripted by Robert Riskin and starring Carole Lombard - better known as a comedienne in later films - Pat O'Brien, the ubiquitous Ward Bond, Mayo Methot (the third wife of Bogart), and mean Jack La Rue, is an intelligent and snappy pre-Code drama about a fallen woman who strives to make good with the taxi driver she loves (O'Brien, who 'knows everything about dames') despite the odds and coincidences being against her.
Some good moments - Lombard and O'Brien spiky Mr and Mrs Doyle exchanges over morning pancakes, Methot the tart with a heart finally shopping the man she loves to the DA, Lombard looking luminous in one fashionably blurry close-up, O'Brien in a sou'wester hoping his wife won't recognise him driving someone else's taxi. With hard-boiled lines and an opening scene-setter (now sound only) in a courtroom, where fallen ladies were run out of town, 'Virtue' is a superior drama which keeps you on your toes and makes its cast perform to the hilt.
Some good moments - Lombard and O'Brien spiky Mr and Mrs Doyle exchanges over morning pancakes, Methot the tart with a heart finally shopping the man she loves to the DA, Lombard looking luminous in one fashionably blurry close-up, O'Brien in a sou'wester hoping his wife won't recognise him driving someone else's taxi. With hard-boiled lines and an opening scene-setter (now sound only) in a courtroom, where fallen ladies were run out of town, 'Virtue' is a superior drama which keeps you on your toes and makes its cast perform to the hilt.
"VIRTUE Has It's Rewards But Not at the Box Office"
HarlowMGM19 December 2007
The above quote is one of Mae West's more famous off-screen quips and although it wasn't made about the 1932 picture VIRTUE but it could have been given this is a sharp little pre-code drama from Columbia that may have failed with ticket takers but still holds one's interest a good 70 years after production was completed.
The very young Carole Lombard stars as Mae (!!) a rather chic and smart street walker (especially compared to her contemporaries in the film) who unexpectedly finds true love with loud-mouthed cab driver Pat O'Brien who is oblivious to her past. Shortly after their wedding he finds out the truth and struggles to keep his faith in her. The script to this little programmer is by Robert Riskin and features excellent and credible dialogue, not "snappy patter" a hackneyed writer might have gone with. Lombard is superb in this and even the often predictable O'Brien does really good work here. TCM aired this long-unseen little gem with zero fanfare for the first time in December 2007, let's hope they'll also go in the vaults to get Lombard's other rare Columbia films NO MORE ORCHIDS and BRIEF MOMENT.
The very young Carole Lombard stars as Mae (!!) a rather chic and smart street walker (especially compared to her contemporaries in the film) who unexpectedly finds true love with loud-mouthed cab driver Pat O'Brien who is oblivious to her past. Shortly after their wedding he finds out the truth and struggles to keep his faith in her. The script to this little programmer is by Robert Riskin and features excellent and credible dialogue, not "snappy patter" a hackneyed writer might have gone with. Lombard is superb in this and even the often predictable O'Brien does really good work here. TCM aired this long-unseen little gem with zero fanfare for the first time in December 2007, let's hope they'll also go in the vaults to get Lombard's other rare Columbia films NO MORE ORCHIDS and BRIEF MOMENT.
You won't be disappointed
1930s_Time_Machine30 September 2022
Ever put a film on you've never heard about but have been really surprised how good it was? This is one of those movies.
Some people might watch this because they're Carole Lombard fans. Although this might sound sacrilegious to them, I'm not a fan of her comedy but in this she's fantastic. This is a Columbia picture, it's shabby and grimy and Carole Lombard perfectly fits into this unsavoury world as a slightly shop soiled street walker. Unlike in some other films of the period, the star is not a victim, she's not struggling. She's thriving and is part of that environment, she's as much a part of that dirty city as the Brooklyn Bridge.
It's written by Robert Riskin, who would go on to write most of Frank Capra's classic films so you know that however uncertain things get for our heroes, you're probably going to get a happy ending....or do you?
Although the plot is essentially about a prostitute who falls in love with a taxi driver, Riskin's brilliant script weaves it into a lovely story arc where we see characters evolve before our eyes. It's underlying theme however is perception. In the eyes of the others, however much she changes, Mae was and always will be just an untrustworthy prostitute. Maybe on a deeper level it's about how we see ourselves and how we see each other. It's how we see others as reflections of our own preconceptions and indeed of ourselves. Although not quite Frank Capra, director Edward Buzzell does a great job and reinforces the reflection motifs with some clever use of mirrors and reflections.
Overall, definitely worth watching for a great, uplifting story with some of the best fast-talking, wisecracking dialogue ever giving us a real taste of life for the underdogs of New York during the darkest days of the depression.
Some people might watch this because they're Carole Lombard fans. Although this might sound sacrilegious to them, I'm not a fan of her comedy but in this she's fantastic. This is a Columbia picture, it's shabby and grimy and Carole Lombard perfectly fits into this unsavoury world as a slightly shop soiled street walker. Unlike in some other films of the period, the star is not a victim, she's not struggling. She's thriving and is part of that environment, she's as much a part of that dirty city as the Brooklyn Bridge.
It's written by Robert Riskin, who would go on to write most of Frank Capra's classic films so you know that however uncertain things get for our heroes, you're probably going to get a happy ending....or do you?
Although the plot is essentially about a prostitute who falls in love with a taxi driver, Riskin's brilliant script weaves it into a lovely story arc where we see characters evolve before our eyes. It's underlying theme however is perception. In the eyes of the others, however much she changes, Mae was and always will be just an untrustworthy prostitute. Maybe on a deeper level it's about how we see ourselves and how we see each other. It's how we see others as reflections of our own preconceptions and indeed of ourselves. Although not quite Frank Capra, director Edward Buzzell does a great job and reinforces the reflection motifs with some clever use of mirrors and reflections.
Overall, definitely worth watching for a great, uplifting story with some of the best fast-talking, wisecracking dialogue ever giving us a real taste of life for the underdogs of New York during the darkest days of the depression.
This precode has a little bit of everything
AlsExGal26 November 2009
This one has a prostitute trying to go straight, a tough-talking cab driver whose harsh words hide a heart of gold, and there is even a murder tucked away in the plot.
The story opens on prostitute Mae(Carole Lombard) being escorted to a train that will take her out of New York City - a condition of her not serving jail time for street walking is that she leave town. As soon as the police are gone she gets right off the train. Having no money, she has to ditch Jimmy Doyle (Pat O'Brien), the cabby that takes her back into the city, without paying him. However, Mae is a woman without options, not a woman who is basically dishonest, so as soon as she has the money she pays Jimmy the fare, although at the worst possible time - watch the film to see what I'm talking about.
Jimmy and Mae hit it off and even get married, but they're basically two people looking for love that have two big problems. Mae can't take back her past, and Jimmy can't - with dignity - take back the words he has said about him being all-knowing when it comes to "dames", especially after he learns of his wife's past occupation at a most inopportune time. From that point forward the two have a good relationship on the surface, but underneath Jimmy always has his doubts as to whether Mae's past is really behind her, and Mae feels like she's on probation. Then something comes up that brings all of these feelings to the surface.
Mayo Methot plays Lil Blair, an aging woman of the streets and friend to Mae whose boyfriend Toots is more than happy to have Lil support him and more than unhappy when she can't come up with quite enough money to keep him in race track forms. Lil winds up playing a bigger part in the whole story than her small amount of screen time would make you believe.
This fast moving little precode with heart is everything that the best precodes of the early 30's should be. Many of the precodes that came out of Columbia in the early 30's had a paint-by-numbers feel about them, like they were just going through the motions. This one has very good performances by the entire cast and a storyline that draws you into the everyday lives of these not so everyday people.
The story opens on prostitute Mae(Carole Lombard) being escorted to a train that will take her out of New York City - a condition of her not serving jail time for street walking is that she leave town. As soon as the police are gone she gets right off the train. Having no money, she has to ditch Jimmy Doyle (Pat O'Brien), the cabby that takes her back into the city, without paying him. However, Mae is a woman without options, not a woman who is basically dishonest, so as soon as she has the money she pays Jimmy the fare, although at the worst possible time - watch the film to see what I'm talking about.
Jimmy and Mae hit it off and even get married, but they're basically two people looking for love that have two big problems. Mae can't take back her past, and Jimmy can't - with dignity - take back the words he has said about him being all-knowing when it comes to "dames", especially after he learns of his wife's past occupation at a most inopportune time. From that point forward the two have a good relationship on the surface, but underneath Jimmy always has his doubts as to whether Mae's past is really behind her, and Mae feels like she's on probation. Then something comes up that brings all of these feelings to the surface.
Mayo Methot plays Lil Blair, an aging woman of the streets and friend to Mae whose boyfriend Toots is more than happy to have Lil support him and more than unhappy when she can't come up with quite enough money to keep him in race track forms. Lil winds up playing a bigger part in the whole story than her small amount of screen time would make you believe.
This fast moving little precode with heart is everything that the best precodes of the early 30's should be. Many of the precodes that came out of Columbia in the early 30's had a paint-by-numbers feel about them, like they were just going through the motions. This one has very good performances by the entire cast and a storyline that draws you into the everyday lives of these not so everyday people.
Love Those Pre-code Films
Bucs196031 October 2008
Warning: Spoilers
Pre-code films are such a treat. They got down to the nitty-gritty and made no excuses. This one is no exception as Carole Lombard portrays a prostitute who decides to go straight after meeting cab driver Pat O'Brien. (Films made after the code came into effect would have changed her profession to "hostess" or "dance hall girl"). Surprisingly, they make a pretty snappy duo and O'Brien holds his own with scene stealer Lombard. But soon complications arise which cause O'Brien to doubt Lombard's veracity and he begins to believe she has returned to the streets. Through a few plot twists, a murder, and a great scene where Lombard slaps the snot out of Shirley Grey, the situation is resolved and all's well that ends well.
The support cast is particularly strong here with Mayo Methot, forever known as the distaff side of the Battling Bogarts, as Lombard's pal and Jack LaRue at his oily best as Methot's gangster boyfriend. Methot turns out to have a heart of gold as she turns in LaRue at the police station, much to his surprise and chagrin thereby getting Lombard off the hook
This film is a little gem that showcases the talents of all concerned. Watch for it!!
The support cast is particularly strong here with Mayo Methot, forever known as the distaff side of the Battling Bogarts, as Lombard's pal and Jack LaRue at his oily best as Methot's gangster boyfriend. Methot turns out to have a heart of gold as she turns in LaRue at the police station, much to his surprise and chagrin thereby getting Lombard off the hook
This film is a little gem that showcases the talents of all concerned. Watch for it!!
Supposedly Lombard's film, it's really Methot's
morrisonhimself4 April 2009
Mayo Methot is pretty unknown these days, and known mostly as the female half of "The Battling Bogarts," that is, as Humphrey Bogart's wife with whom he was in frequent battles, including physical ones.
But her role in "Virtue" showed that, given a great role, she was a heck of an actress.
This was a great role in a gritty film, and, as several commenters have said, it was pre-Code, meaning it could be adult.
It was adult, mature, but without being vulgar or even especially blunt, also without being exploitative or tabloid-like in its treatment.
I consider it one of Lombard's best roles -- better than some of her fluffier parts later -- and one of her best performances, and Pat O'Brien, despite some silly dialog, also gave an excellent performance.
Ward Bond, one of my favorites, and an actor who grew enormously in range and ability over his decades, gave one of his own best performances for this early in his career.
Jack La Rue and Shirley Grey played pivotal characters, and played them awfully well.
All in all, this is one heck of a good movie, one I recommend to every serious cinema lover.
But her role in "Virtue" showed that, given a great role, she was a heck of an actress.
This was a great role in a gritty film, and, as several commenters have said, it was pre-Code, meaning it could be adult.
It was adult, mature, but without being vulgar or even especially blunt, also without being exploitative or tabloid-like in its treatment.
I consider it one of Lombard's best roles -- better than some of her fluffier parts later -- and one of her best performances, and Pat O'Brien, despite some silly dialog, also gave an excellent performance.
Ward Bond, one of my favorites, and an actor who grew enormously in range and ability over his decades, gave one of his own best performances for this early in his career.
Jack La Rue and Shirley Grey played pivotal characters, and played them awfully well.
All in all, this is one heck of a good movie, one I recommend to every serious cinema lover.
A dandy little Pre-Code B-film
planktonrules24 July 2009
Warning: Spoilers
This B-film stars Carole Lombard and Pat O'Brien. He is a cabbie with ambitions of buying a gas station. She works at a lunch counter...but also has a secret. Soon, they meet and fall in love. However, on their wedding night, he finds out her secret---she had been a prostitute! His reaction, though seemingly brutal (he slaps her) is certainly understandable but is probably NOT something you would see in later films after the Production Code was strengthened and adopted in mid-1934. In fact, her having been a prostitute also would never have been allowed just a few years later.
Despite working through this major bump in their marriage, there is always a bit of doubt in his mind. You know this because later in the film, he assumes (incorrectly) that she's returned to her old career (and I don't mean waitressing!). What he doesn't know is that she is working hard to get back much of the money for his gas station--as it had been stolen. But, he stomps off and doesn't realize that she is true. This stinks, because she is soon accused of murder and he's one of the only one that knows she wasn't guilty and that there was a "mystery man" in the room. How all this resolved is pretty interesting and the film ends on a very nice but somewhat predictable note.
As far as the film goes, it was intended as a minor film. At the time, O'Brien and Lombard were not top stars and this is a B-film. And, in this sense, the movie is very successful. The story is very gritty but also very entertaining. The acting and direction were also outstanding as well. For lovers of Pre-Code films, in particular, it's well worth seeing and nearly scores an 8.
Despite working through this major bump in their marriage, there is always a bit of doubt in his mind. You know this because later in the film, he assumes (incorrectly) that she's returned to her old career (and I don't mean waitressing!). What he doesn't know is that she is working hard to get back much of the money for his gas station--as it had been stolen. But, he stomps off and doesn't realize that she is true. This stinks, because she is soon accused of murder and he's one of the only one that knows she wasn't guilty and that there was a "mystery man" in the room. How all this resolved is pretty interesting and the film ends on a very nice but somewhat predictable note.
As far as the film goes, it was intended as a minor film. At the time, O'Brien and Lombard were not top stars and this is a B-film. And, in this sense, the movie is very successful. The story is very gritty but also very entertaining. The acting and direction were also outstanding as well. For lovers of Pre-Code films, in particular, it's well worth seeing and nearly scores an 8.
He learned about dames...the hard way.
mark.waltz3 December 2016
Warning: Spoilers
Kicked out of New York downtown, escorted to Grand Central and off the train by 125th Street, alleged prostitute Carole Lombard decides not to go back to her home town of Danbury, the place they make hats, insisting that she's already got a hat. She also doesn't want to go back to Danbury, where as pal Mayo Methot says, "They don't bury their dead. They just let them walk around." Lombard screws cab fare from driver Pat O'Brien, and somehow ends up married to him, determined to remain in New York, somewhat respectable. But with a past like hers, she's in for a rough ride.
This is Lombard at her toughest, having always been sultry. But she's a less brassy version of Jean Harlow here, much softer in looks but hiding her vulnerability behind every wisecrack. It only takes love to soften her, as she confides in old street pals, she's changed because of his devotion to her. New York in the depression could be very depressing, although the idea of cops escorting hookers to the train station on the city's expense seems a bit absurd. As pre-code dramas go, this is pretty racy, with O'Brien's constant analyzing of women as "dames" rather revealing of the culture of the time. When he discovers the truth, the conflict in him starts to eat him alive.
A stark, adult drama about the pasts that destroy the best of human relationships, this seems to periodically run out of steam, going from each situation to the next with only the slightest of continuity to call this a "plotline". The dialog is tough, often brutal, and there's a sense of violence in the way O'Brien speaks to her, covering up his worries with an even bigger facade then what she had. This gives the film a great beginning, but there's a feeling of let down as each situation occurring seems more and more forced. The two stars are fine, and there are definitely some shocking moments, but under the surface, I just feel that something really vital to the story was missing.
This is Lombard at her toughest, having always been sultry. But she's a less brassy version of Jean Harlow here, much softer in looks but hiding her vulnerability behind every wisecrack. It only takes love to soften her, as she confides in old street pals, she's changed because of his devotion to her. New York in the depression could be very depressing, although the idea of cops escorting hookers to the train station on the city's expense seems a bit absurd. As pre-code dramas go, this is pretty racy, with O'Brien's constant analyzing of women as "dames" rather revealing of the culture of the time. When he discovers the truth, the conflict in him starts to eat him alive.
A stark, adult drama about the pasts that destroy the best of human relationships, this seems to periodically run out of steam, going from each situation to the next with only the slightest of continuity to call this a "plotline". The dialog is tough, often brutal, and there's a sense of violence in the way O'Brien speaks to her, covering up his worries with an even bigger facade then what she had. This gives the film a great beginning, but there's a feeling of let down as each situation occurring seems more and more forced. The two stars are fine, and there are definitely some shocking moments, but under the surface, I just feel that something really vital to the story was missing.
Fun Film
Michael_Elliott28 February 2008
Virtue (1932)
*** (out of 4)
Pat O'Brien plays a soft hearted taxi driver who thinks he knows all there is to know about women but that changes when he meets a prostitute (Carole Lombard). At first he doesn't know her history but that changes after they're married and soon after more problems start popping up. This is a pretty good little drama that manages to have several good performances and a nice story to go along with it. Lombard is very sexy in her role and delivers a fine, tough performance but it's actually O'Brien who steals the show in what could be the best performance I've seen from him. He plays a complete jerk throughout the entire movie but when it comes time for that good heart to show he mixes the two perfectly. The film goes through some standard stuff including a murder subplot but in the end this moves along very fast and makes for a good time killer.
*** (out of 4)
Pat O'Brien plays a soft hearted taxi driver who thinks he knows all there is to know about women but that changes when he meets a prostitute (Carole Lombard). At first he doesn't know her history but that changes after they're married and soon after more problems start popping up. This is a pretty good little drama that manages to have several good performances and a nice story to go along with it. Lombard is very sexy in her role and delivers a fine, tough performance but it's actually O'Brien who steals the show in what could be the best performance I've seen from him. He plays a complete jerk throughout the entire movie but when it comes time for that good heart to show he mixes the two perfectly. The film goes through some standard stuff including a murder subplot but in the end this moves along very fast and makes for a good time killer.
Virtue has a few
st-shot23 November 2010
Carol Lombard and Pat O'Brien make for a decent pairing in this poverty row production about a pair of streetwise, big city denizens looking for a break during the Depression. The duo share a vulnerable chemistry hidden beneath a veneer of caustic cynicism that more than once threatens to derail their relationship and Lombard and O'Brien in the leads give the characters an unglamorous edge of believability that a studio like Metro might gild with Gable and Crawford.
Lady of the night, Mae (Lombard) is run out of town by the local authorities. Figuring Danbury CT. is not a good fit for her she simply turns around and grabs a cab back to the city beating savvy braggart hack Jimmy Doyle out of his fare. When she tries to square things he tries to remain proud and aloof but the two fall for each other and she decides to go straight without letting Jimmy know of her past. Inadvertently she once again gets involved with her former associates that leads to not only blowing her cover but getting herself implicated in a murder.
Cameraman Joseph Walker does his usual solid job of giving Virtue a nice crisp look while director Ed Buzzell keeps things lively enough with a supporting cast ( especially Mayo Methot and Jack LaRue) of duplicitous hookers, pimps and self righteous officials making life lousy for Mae and Jimmy. The film's expedient denouement is a little far fetched but by then your rooting too hard for the pair to care.
Lady of the night, Mae (Lombard) is run out of town by the local authorities. Figuring Danbury CT. is not a good fit for her she simply turns around and grabs a cab back to the city beating savvy braggart hack Jimmy Doyle out of his fare. When she tries to square things he tries to remain proud and aloof but the two fall for each other and she decides to go straight without letting Jimmy know of her past. Inadvertently she once again gets involved with her former associates that leads to not only blowing her cover but getting herself implicated in a murder.
Cameraman Joseph Walker does his usual solid job of giving Virtue a nice crisp look while director Ed Buzzell keeps things lively enough with a supporting cast ( especially Mayo Methot and Jack LaRue) of duplicitous hookers, pimps and self righteous officials making life lousy for Mae and Jimmy. The film's expedient denouement is a little far fetched but by then your rooting too hard for the pair to care.
Get out of town
AAdaSC15 December 2019
This film's central character - Carole Lombard (Mae) - is a prostitute. As this is her profession of choice and the ridiculous attitude towards this lifestyle that was enforced by the Hayes Code from 1934, the film has had the beginning sequence wiped with just the dialogue remaining. It doesn't last long but it is nevertheless an utterly stupid thing to have done and may convince viewers that they have got possession of a duff version of the film and stop watching. Please keep things running as the picture appears after a couple of minutes and you can follow the film's setting and plotline from the auditory.
Once Lombard appears, she is being escorted out of town for that most important of professions - prostitution. She is under the instruction to never return to New York or she will face jail. Guess what she does? The dialogue is also sharp and funny so it's an entertaining start to the film. However, we are also introduced to Pat O'Brien (Jimmy) who has a macho role as a cab driver and refers to women as "dames". And who also never shuts up. He is really annoying. The tone and pitch with which he delivers his dialogue is also extremely discordant. He maintains this throughout the film and his unpleasant actions and manners do not elicit any sympathy or interest for him. It's ludicrous that Lombard falls for him. O'Brien has been poorly cast as the leading man. We just don't care about him. Quite rightly.
The story is about making foolish decisions and trying to make good, misunderstandings and there is a murder thrown in towards the end. The film is made by the female cast and the story moves along nicely whenever any character other than O'Brien is on screen. The first half is slower. There are 2 memorable slap scenes. One slap is delivered by O'Brien and it is just plain nasty. This guy needs to get a good kicking. The other is delivered by Lombard and is more of a sequence and is a quality scene. Don't mess with her! Here's another...and another...etc - ha ha.
So, Lombard, fellow prostitutes Mayo Methot (Lil) and Shirley Grey (Gert), badass pimp Jack La Rue (Toots), and cab driver Ward Bond (Frank) all put in engaging performances but the film is dragged back by O'Brien's unsympathetic character in the lead male role. Lombard should have just got out of town and headed to Danbury and a new hat.
Once Lombard appears, she is being escorted out of town for that most important of professions - prostitution. She is under the instruction to never return to New York or she will face jail. Guess what she does? The dialogue is also sharp and funny so it's an entertaining start to the film. However, we are also introduced to Pat O'Brien (Jimmy) who has a macho role as a cab driver and refers to women as "dames". And who also never shuts up. He is really annoying. The tone and pitch with which he delivers his dialogue is also extremely discordant. He maintains this throughout the film and his unpleasant actions and manners do not elicit any sympathy or interest for him. It's ludicrous that Lombard falls for him. O'Brien has been poorly cast as the leading man. We just don't care about him. Quite rightly.
The story is about making foolish decisions and trying to make good, misunderstandings and there is a murder thrown in towards the end. The film is made by the female cast and the story moves along nicely whenever any character other than O'Brien is on screen. The first half is slower. There are 2 memorable slap scenes. One slap is delivered by O'Brien and it is just plain nasty. This guy needs to get a good kicking. The other is delivered by Lombard and is more of a sequence and is a quality scene. Don't mess with her! Here's another...and another...etc - ha ha.
So, Lombard, fellow prostitutes Mayo Methot (Lil) and Shirley Grey (Gert), badass pimp Jack La Rue (Toots), and cab driver Ward Bond (Frank) all put in engaging performances but the film is dragged back by O'Brien's unsympathetic character in the lead male role. Lombard should have just got out of town and headed to Danbury and a new hat.
Early Lombard shows presence
gridoon20249 July 2017
Warning: Spoilers
Dated and predictable in some aspects, hardboiled and direct in others, "Virtue" is most notable for one of the earliest, dramatic roles of comedienne Carole Lombard. She already shows a strong screen presence. In the film's best (without a doubt) scene, she repeatedly slaps a woman who has swindled her out of 200 dollars. Go Carole! Warning: do not think there is something wrong with your TV after the opening credits roll - the film does open with a blank screen / audio only for a while! **1/2 out of 4.
Coming from a younger fan
MarieGabrielle6 October 2010
I only watch TCM as it is these days, the sole channel for those interested in actual plot, talent, and historical film.
Carole Lombard was not playing the madcap role of a tough street girl here (a role so common at that time). Barbara Stanwyck later perfected the posture in several of her films, and I have not caught up yet to films prior to Stanwyck. Admitting I am no expert here, but Lombard has resonance and empathy from the audience here, even after 78 years (My Dad would have grown up watching this, however. ) Simply, films from this era are something to learn from, Lombard and Pat O'Brien in a hardscrabble NY life. He is a cab driver she a former street-walker. Reminds me of the excellent performance by Stanwyck in "Baby Face", which I had the good fortune to view last year.
Overall well worth it and I hope TCM has some intros for a younger audience to interest them in films from this era. Lost treasures worth seeing and enjoying. 9/10.
Carole Lombard was not playing the madcap role of a tough street girl here (a role so common at that time). Barbara Stanwyck later perfected the posture in several of her films, and I have not caught up yet to films prior to Stanwyck. Admitting I am no expert here, but Lombard has resonance and empathy from the audience here, even after 78 years (My Dad would have grown up watching this, however. ) Simply, films from this era are something to learn from, Lombard and Pat O'Brien in a hardscrabble NY life. He is a cab driver she a former street-walker. Reminds me of the excellent performance by Stanwyck in "Baby Face", which I had the good fortune to view last year.
Overall well worth it and I hope TCM has some intros for a younger audience to interest them in films from this era. Lost treasures worth seeing and enjoying. 9/10.
Bleak tale exploring love, expectations and trust
csteidler15 December 2012
Carole Lombard and Pat O'Brien give painfully sharp performances as a young working class couple who meet, fall in love and marry
and then face the harsh realities of her past, his assumptions, and entanglement in a murder case.
An excellent supporting cast includes Ward Bond as O'Brien's buddy. A couple of rough-edged cabbies, both Bond and O'Brien are reluctant romantics; early on, O'Brien tries to talk Bond out of getting married because dames are "all built on the same model, aren't they?"
Mayo Methot is Lombard's fellow working girl; slightly older and wiser, she encourages Lombard to "get out" if she possibly can. Jack La Rue is depressingly convincing as a small time crook named Toots, a ruthless smooth talker and manipulator but really not very smart.
O'Brien is very good as the hardnosed cab driver saving up to buy a gas station. He's kind of a jerk or is that just an act? "Sure, I know all about women," he says—in a moment of bitter self-loathing. He may have a heart of gold, but it doesn't shine through often or easily.
Lombard's character is the most complex: caught between old associates and a new husband who distrusts her, she is presented with a series of dangerous and difficult choices. Does she choose wisely? Can this possibly end well for her?
It's a fairly maudlin tale, overall; solid dialog and believable performances, however, make it very watchable. The last third of the picture, when it develops into a sort of murder drama, is easily the liveliest and most interesting section.
Interesting to fans of these stars or early 30s melodramas.
An excellent supporting cast includes Ward Bond as O'Brien's buddy. A couple of rough-edged cabbies, both Bond and O'Brien are reluctant romantics; early on, O'Brien tries to talk Bond out of getting married because dames are "all built on the same model, aren't they?"
Mayo Methot is Lombard's fellow working girl; slightly older and wiser, she encourages Lombard to "get out" if she possibly can. Jack La Rue is depressingly convincing as a small time crook named Toots, a ruthless smooth talker and manipulator but really not very smart.
O'Brien is very good as the hardnosed cab driver saving up to buy a gas station. He's kind of a jerk or is that just an act? "Sure, I know all about women," he says—in a moment of bitter self-loathing. He may have a heart of gold, but it doesn't shine through often or easily.
Lombard's character is the most complex: caught between old associates and a new husband who distrusts her, she is presented with a series of dangerous and difficult choices. Does she choose wisely? Can this possibly end well for her?
It's a fairly maudlin tale, overall; solid dialog and believable performances, however, make it very watchable. The last third of the picture, when it develops into a sort of murder drama, is easily the liveliest and most interesting section.
Interesting to fans of these stars or early 30s melodramas.
Carole Lombard's Most Popular 1932 Film
springfieldrental17 December 2022
Columbia Pictures president Harry Cohn was known to be crude to his actresses behind closed doors. According to one account in Larry Swindell's biography on Carole Lombard, while on loan from Paramount she met Cohn for the first time in his office before the filming of October 1932's "Virtue." Cohn's opening remarks about her looks were met with an aggressive retort by the actress on his personal affairs. The studio head never had been confronted by such verbal jousting from anyone before. The back-and-forth continued between them until Cohn realized Lombard was a stand-up, confident woman whom he couldn't take advantage.
Photoplay magazine wrote an article titled "How I Live by a Man's Code," detailing Lombard's well-known reputation as a professional actress who didn't take any gruff from male management. "Play fair with men," she said in the article, "don't burn over criticism-stand up to it like a man." The published account was intended to show Lombard's independence as contrasted to the more meek actresses who succumb to the claws of aggressive men.
In "Virtue," the most popular of the five pictures Lombard appeared in 1932, she's a streetwalker, one of the final Hollywood films on the heels of Tallulah Bankhead's "Faithless" to use the oldest profession as a major theme before the strict enforcement of the Movie Production Code. The script by Robert Riskin, famous for his collaboration with director Frank Capra, is filled with the writer's sharp dialogue, giving Lombard a few hard-hitting comeback lines. A supposed street-wise cab driver, Jimmy Doyle (Pat O'Brien) has Mae (Lombard) as a passenger before she skips out paying the fare. Her friends include Lil (Mayo Methot) and Gert (Shirley Grey), both working as waitresses. Later Jimmy, unaware how Mae gets her money, falls in love with her and gets married. But the law, who had banished Mae from New York City, catches up with her as well as her involvement in the murder of her friend Gert.
Viewing Mayo Methot's performance in "Virtue" as Lil is fascinating since today she's largely known as Humphrey Bogart's ex-wife. Methot first appeared on the stage in 1919 as a 15-year-old actress for a stock company. Married two years later to a cameraman that lasted four-years, Methot appeared on Broadway in 1923. She transitioned to film in 1930, and found herself married to an oil tycoon a year later. Playing mostly tough-talking dames such as the one in "Virtue," Mayo's movie career lasted until 1940, when she made a commitment to devote her life to Bogart and her family. But her personal temperament matched the characters she played on the screen, and the seven-year marriage proved to be quite tempestuous.
At the time of filming "Virtue," Lombard was married to actor William Powell since June 1931. The two, according to the actress, 'were diametrically different." Their "see-saw love" contrasted Lombard's 22-year-old carefree and rather foul-mouthed personality to the 38-year-old actor's intellectual and sophisticated demeanor. Besides her acting, being married to one of Hollywood's more popular actors increased her celebrity status, leading to her first major role in "Virtue." Lombard divorced Powell a year later and eventually married actor Clark Gable in the spring of 1939. One of the most clairvoyant lines ever preserved in "Virtue" is said when Frank (Ward Bond), Jimmy's friend, tells him as he spots Lombard waiting in the District Attorney's office that "You're no Clark Gable."
Photoplay magazine wrote an article titled "How I Live by a Man's Code," detailing Lombard's well-known reputation as a professional actress who didn't take any gruff from male management. "Play fair with men," she said in the article, "don't burn over criticism-stand up to it like a man." The published account was intended to show Lombard's independence as contrasted to the more meek actresses who succumb to the claws of aggressive men.
In "Virtue," the most popular of the five pictures Lombard appeared in 1932, she's a streetwalker, one of the final Hollywood films on the heels of Tallulah Bankhead's "Faithless" to use the oldest profession as a major theme before the strict enforcement of the Movie Production Code. The script by Robert Riskin, famous for his collaboration with director Frank Capra, is filled with the writer's sharp dialogue, giving Lombard a few hard-hitting comeback lines. A supposed street-wise cab driver, Jimmy Doyle (Pat O'Brien) has Mae (Lombard) as a passenger before she skips out paying the fare. Her friends include Lil (Mayo Methot) and Gert (Shirley Grey), both working as waitresses. Later Jimmy, unaware how Mae gets her money, falls in love with her and gets married. But the law, who had banished Mae from New York City, catches up with her as well as her involvement in the murder of her friend Gert.
Viewing Mayo Methot's performance in "Virtue" as Lil is fascinating since today she's largely known as Humphrey Bogart's ex-wife. Methot first appeared on the stage in 1919 as a 15-year-old actress for a stock company. Married two years later to a cameraman that lasted four-years, Methot appeared on Broadway in 1923. She transitioned to film in 1930, and found herself married to an oil tycoon a year later. Playing mostly tough-talking dames such as the one in "Virtue," Mayo's movie career lasted until 1940, when she made a commitment to devote her life to Bogart and her family. But her personal temperament matched the characters she played on the screen, and the seven-year marriage proved to be quite tempestuous.
At the time of filming "Virtue," Lombard was married to actor William Powell since June 1931. The two, according to the actress, 'were diametrically different." Their "see-saw love" contrasted Lombard's 22-year-old carefree and rather foul-mouthed personality to the 38-year-old actor's intellectual and sophisticated demeanor. Besides her acting, being married to one of Hollywood's more popular actors increased her celebrity status, leading to her first major role in "Virtue." Lombard divorced Powell a year later and eventually married actor Clark Gable in the spring of 1939. One of the most clairvoyant lines ever preserved in "Virtue" is said when Frank (Ward Bond), Jimmy's friend, tells him as he spots Lombard waiting in the District Attorney's office that "You're no Clark Gable."
Interesting pre-Code drama
HotToastyRag21 August 2020
Oh, the joys of a pre-Code movie! In Virtue, prostitution is openly discussed, and one of the girls in the movie even has a pimp. Carole Lombard starts the film getting run out of town, but she hops the train and returns to New York City. Her girlfriends are content to stay prostitutes, but she goes straight and gets a job slinging hash. Pat O'Brien starts the movie lecturing his pal and roommate Ward Bond about the evils of women. Ward claims he's found true love with his girlfriend who's playing hard to get. Pat tells him he's a first-class sucker; she knew playing hard to get was the way to winkle out a wedding ring. "No one can tell me a thing about dames," he claims proudly.
Of course, when Pat and Carole fall in love, he gets just as hoodwinked as Ward did. Carole hasn't told him about his past, and he finds out in a terrible way. It's a great scene that shows his shock and reaction of betrayal. I don't usually like Carole Lombard movies, but since this one is a drama, I didn't mind her in it. The plot moves along quickly with lots of surprises, so if you haven't seen it and want to see Pat O'Brien in a romance (this is the first I've seen!) give it a shot. Where else would you see a young, curly haired Ward Bond getting third-billing? It was worth it for me just to see him parading around in his boxer shorts; how cute!
Of course, when Pat and Carole fall in love, he gets just as hoodwinked as Ward did. Carole hasn't told him about his past, and he finds out in a terrible way. It's a great scene that shows his shock and reaction of betrayal. I don't usually like Carole Lombard movies, but since this one is a drama, I didn't mind her in it. The plot moves along quickly with lots of surprises, so if you haven't seen it and want to see Pat O'Brien in a romance (this is the first I've seen!) give it a shot. Where else would you see a young, curly haired Ward Bond getting third-billing? It was worth it for me just to see him parading around in his boxer shorts; how cute!
"I sentence you to confinement on Welfare Island for three months..."
utgard1411 August 2014
Taxi driver Pat O'Brien, cynical about women, meets former prostitute Carole Lombard and the two fall in love. They marry and struggle to make things work but her past comes between them. Mature Pre-Coder with lots of snappy lingo and fine characters. Pat O'Brien does a good job, as does Carole Lombard. Both make their flawed characters seem real and likable. Lombard may be more known today for her comedy roles but she proved in films like this how good she was with drama as well. Mayo Methot, best known as Humphrey Bogart's first wife, is great as Lombard's hooker friend. It's a B picture with a short runtime but keeps you entertained throughout.
She has a past and a future
jarrodmcdonald-117 July 2023
Warning: Spoilers
Many precode films focus on female protagonists who might have a criminal past. But because they are mostly uplifting dramas, the women in these stories strive to overcome past mistakes and live a more productive life. Before I dive into this particular review, I should mention a bit of background about the production. Carole Lombard was locked into a long-term contract at this time with Paramount Pictures. However, she was fighting boss Adolph Zukor about the sort of scripts that would best serve her talents.
At an impasse, Zukor placed Lombard on suspension. She promptly went to Columbia where she struck up a friendship with Harry Cohn. Cohn was eager to use Lombard to bring more prestige to his then-poverty row studio. He offered Paramount money to borrow Lombard, which meant her suspension was lifted. Lombard was able to get away from her home studio for awhile, and she was able to do material that interested her. She made several films for Columbia during the next few years. One (TWENTIETH CENTURY) firmly established her reputation as a screwball comedienne.
In VIRTUE, she is playing a much more dramatic part. And she handles the role with ease. Her character Mae is a down-on-her-luck prostitute that meets a brash but vulnerable taxi driver named Jimmy (Pat O'Brien). And from there, a rather interesting relationship- and sudden marriage- occurs. Both Lombard and O'Brien deliver their lines quickly. There are no drawn out pauses or belabored moments. This gives their scenes a lot of energy.
O'Brien's character is a bit tough at the beginning. Jimmy's charmed by Mae, but he's also a bit skeptical. Probably because while driving cab around town, he's met other gals like her before. He doesn't intend to get burned. However, she does get a ride from him without paying.
Of course, we know our two main characters will cross paths again. Or else there wouldn't be a love story, right? I like how the writers contrive to throw them back together. It's because Mae has developed a conscience, and decides she needs to pay Jimmy for the fare, after all.
We should point out that while he might initially suspect she is a prostitute, Mae doesn't ever confirm this to Jimmy in the beginning stages of the relationship. So he's a little gullible and chooses to believe she's a good girl. Maybe because he's hooked on her, and he can't admit he's falling for a prostitute. When they impulsively marry, she must definitely give up her former occupation.
This is where the soap opera aspects of the plot kick into gear. We know that she won't be able to totally disengage from her old friends, and some of them are quite dangerous. This will cause a huge disruption in the marriage.
The big twist occurs when Mae gets scammed by a guy named Toots (Jack La Rue) and a female pal named Gert (Shirley Grey). She borrows money from funds Jimmy is saving to open his own garage. Then goes to confront Gert, which lands her in even bigger trouble since Toots has accidentally killed Gert during an argument. Mae is found at the scene of the crime and is arrested.
I didn't expect there to be a killing. But certainly knew there would be some sort of trouble, some sort of violence. Jimmy becomes Mae's staunchest supporter through all of this.
As the drama plays out, important social issues are depicted on screen. How women struggle to support themselves; how a couple struggle to make a marriage work; friends who have their own problems; references to prostitution, economics and abortion. There's a murder. Etc. Ordinarily, a film like this might seem heavy handed. But in this case, it doesn't. The two leads draw us into what is a sincere story of love and redemption.
At an impasse, Zukor placed Lombard on suspension. She promptly went to Columbia where she struck up a friendship with Harry Cohn. Cohn was eager to use Lombard to bring more prestige to his then-poverty row studio. He offered Paramount money to borrow Lombard, which meant her suspension was lifted. Lombard was able to get away from her home studio for awhile, and she was able to do material that interested her. She made several films for Columbia during the next few years. One (TWENTIETH CENTURY) firmly established her reputation as a screwball comedienne.
In VIRTUE, she is playing a much more dramatic part. And she handles the role with ease. Her character Mae is a down-on-her-luck prostitute that meets a brash but vulnerable taxi driver named Jimmy (Pat O'Brien). And from there, a rather interesting relationship- and sudden marriage- occurs. Both Lombard and O'Brien deliver their lines quickly. There are no drawn out pauses or belabored moments. This gives their scenes a lot of energy.
O'Brien's character is a bit tough at the beginning. Jimmy's charmed by Mae, but he's also a bit skeptical. Probably because while driving cab around town, he's met other gals like her before. He doesn't intend to get burned. However, she does get a ride from him without paying.
Of course, we know our two main characters will cross paths again. Or else there wouldn't be a love story, right? I like how the writers contrive to throw them back together. It's because Mae has developed a conscience, and decides she needs to pay Jimmy for the fare, after all.
We should point out that while he might initially suspect she is a prostitute, Mae doesn't ever confirm this to Jimmy in the beginning stages of the relationship. So he's a little gullible and chooses to believe she's a good girl. Maybe because he's hooked on her, and he can't admit he's falling for a prostitute. When they impulsively marry, she must definitely give up her former occupation.
This is where the soap opera aspects of the plot kick into gear. We know that she won't be able to totally disengage from her old friends, and some of them are quite dangerous. This will cause a huge disruption in the marriage.
The big twist occurs when Mae gets scammed by a guy named Toots (Jack La Rue) and a female pal named Gert (Shirley Grey). She borrows money from funds Jimmy is saving to open his own garage. Then goes to confront Gert, which lands her in even bigger trouble since Toots has accidentally killed Gert during an argument. Mae is found at the scene of the crime and is arrested.
I didn't expect there to be a killing. But certainly knew there would be some sort of trouble, some sort of violence. Jimmy becomes Mae's staunchest supporter through all of this.
As the drama plays out, important social issues are depicted on screen. How women struggle to support themselves; how a couple struggle to make a marriage work; friends who have their own problems; references to prostitution, economics and abortion. There's a murder. Etc. Ordinarily, a film like this might seem heavy handed. But in this case, it doesn't. The two leads draw us into what is a sincere story of love and redemption.
Dialogue Snap
BillButlerB320 November 2009
-after the honeymoon- Mae:"Jimmy,I've never been so happy in all my life" -Jimmy: "I've never been so tired in all my life - come on"....Mae: "it'll only take me 5 minutes to pack" Jimmy: "I'll be dead in 3". Suggestive pre-code dialog rocks, and it does this all the way in "Virtue" which I recorded direct to DVD off TCM and love, love, love. It all comes around of course, even after "sister" gets hauled off to jail for picking up men - refuses to see her newlywed husband in the hoosegow and is even slapped for her misdeeds -- all within 3 minutes ! Lots of boozing, mistreatment of women, hooking, accusation, forgiveness, re-accusation and eventual re-forgiveness with great interior and exterior photography and rumbling '30s taxicabs.
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