Rafter Romance

The father was NOT upset due to a reference to Hitler but he was upset that the boy was scribbling on the walls. the swastika was, at one time, a good luck charm and could be found in many cultures around the world. Today, of course, it refers to nothing but Hitler and his atrocities, but in 1933 it had nothing to do with Hitler.

This was a great movie, and was before the censors got into cutting some scenes. Her bare back in one scene and showing her undressing must have been outrageous to many at that time.

Movies went from that freedom to almost no freedoms to almost unlimited freedom today. Ain't it a wonderful life ????

Ginger Rogers arrived at RKO Studios in April 1933 after they had signed her to a three-picture deal. Her first film there was "Professional Sweetheart". The director was William Seiter and her leading man was Norman Foster. Ginger said Seiter had a tremendous sense of humor and was a joy to work with. She had flirted with Foster in her first film at Paramouht.

After "Don't Bet on Love" and "A Shriek in the Night", Ginger's contract was picked up for another year, she was presented with the script for "Rafter Romance", to be directed by her old friend Bill Seiter and starring Norman Foster. She said it was like "old-home week again". This "B" picture was filmed just months before the big break of her career. In September, she would start filming "Flying Down to Rio", in which she would dance with Fred Astaire, effectively changing the arc of her career and her life.

"Rafter Romance" is a typical big-city story about young adults trying to make ends meet during the difficult economy. Mary (Ginger Rogers) and Jack (Norman Foster) are tenants in the same apartment building. When they can't pay their rents, the landlord, Mr. Eckbaum (George Sidney) ingeniously realizes they could share the same apartment since one works day hours and the other works the night shift.

It's a somewhat racy premise for its time, but the film was made in the pre-Code era--that brief but glorious period when studios were allowed freer expression. Accordingly, the film includes some suggestions of nudity and impropriety that were typical of pre-Code films.

The film lasts a mere 73 minutes and the story is not demanding, but the actors acquit themselves well. No doubt they enjoyed the filming, having a natural chemistry. The Eckbaum family provides a warm, but humorous, backdrop for the action.

In one scene, the Eckbaum son-who always seems to be hanging around--is drawing swastikas in chalk on the wall near the lobby phone. In 1933, the Nazis would have figured prominently in world news. Their eye-catching symbol was, no doubt, fascinating to youngsters, so it makes sense that he might scribble it as graffiti. Before long, the menace of Nazism would become more apparent.

Had no idea that I was going to enjoy this old time 1933 comedy film starring Ginger Rodgers, (Mary Carroll) who lives in a rooming house and has fallen behind in her rent for about three months. Mary's landlord tells her she must moved out of her apartment and move upstairs in the attic until she finds a job. However, the landlord does not tell her she has to also share the attic apartment with a man named Jack Bacon, (Norman Foster) who is an artist-night watchman who has also fallen behind in his rent. Mary works during the day time and Jack shares the apartment in the day time and leaves at 8PM in the evening when Mary comes home. The two of them do not know each other and do not like each others habits or ways of living. During the day they meet and have no idea they are both sharing the same apartment. This is a very delightful comedy and worth watching. Enjoy!.

The Depression was hard times folks and people made due the best they could economically. Goes for landlords and tenants in Rafter Romance.

Landlord George Sidney decides to help Ginger Rogers out and double his income besides. He's got a tenant in Norman Foster who works as a night watchman where he also gets to do his painting at his real vocation as artist. Rogers is having a bad time financially so Sidney gets the bright idea to rent her the attic apartment that Foster lives in and sleeps days. She'll take it for twelve hours also.

Of course this being the thirties proprieties must be observed and Sidney and his whole family will make sure they're observed. No contact of any kind between the two tenants.

But this is Hollywood and I think you can figure out the rest.

Besides those mentioned look for good performances by Robert Benchley as Ginger's wolfish boss at what would now be called a tele-marketing agency. And also from Laura Hope Crews who plays a drunken society woman who would very much like to keep artist Foster as a private boy toy.

Times have certainly changed. Quite frankly as long as I don't wreck the place, do no illegal activity, and pay my rent on time, my landlord could not care less who I might have as company at a given moment. I'm not sure today's audience would really get what was happening here in Rafter Romance.

The laughs though are still in place and ready to be enjoyed.

Fun find! Two hip young people trying to make a go in NYC in 1933. After not paying their rents for 3 months the landlord moves them into the same attic apartment as their schedules are opposite. It's a great peek at urban life in 1933 with drunken work picnics, a lecherous boss, a high society cougar, a telemarketing office and two witty and sassily dressed 20 somethings trying to make it in the big apple. And it's shot in and around the city. As other reviewers have mentioned - the landlord is stereotypical Jew and there's a stereotypical Italian selling flowers on the street. Not so nice. But this is pretty typical in Hollywood, even now isn't it? The landlord is actually a very likable fellow. He's not one dimensional and you laugh at the crazy antics and his great acting - NOT because of anything "Jewish". And as mentioned - there's another really interesting moment when the landlord's teenage son is writing swastikas on the chalkboard near the phone. He gets a smack on the head for it and he exclaims "But it's good luck!" It is not "making a joke of Nazism" but is in fact pointing out the interesting dilemma for that time. Previous to the Nazis adopting the symbol it DID denote good luck and it was (and still is) a positive icon for many races and religions. This movie foreshadows the evilness the symbol would become, especially to Jewish families. And for an American film to be blatantly anti-Nazi so early means smart writer/director. I'm really glad I got to see this film after its 50 years of purgatory.