We're in the Money

Best parts of this typically so so Ray Enright comedy are the ones where Joan Blondell and Glendale Farrell are riffing off each other and, in the process, providing us with one of the more inspired comedy duos of 1930s Hollywood. Joan's ditzinness contrasts perfectly with Farrell's deadpan wisecracks, kind of like Harpo and Groucho without tiresome Chico. Their talents are at their best in the nightclub scene where they effortlessly combine to nail the oleaginous crooner with a jury summons. Other than that, though, the movie kind of drags with scenes that try too hard (throwing Joan overboard from the yacht, the gangster stuff) alternating with scenes that are more weird/distasteful than quirky/funny (the wrestling sequence). And a little of Hugh Herbert, kind of a poor man's Ed Wynn, goes an awfully long way. Give it a C plus.

Joan Blondell and Glenda Farrell are process servers for nitwit lawyer Hugh Herbert. Their current and last assignment is to serve subpoenas on Ross Alexander and his associates in a breach-of-promise case brought by Anita Kerry, who's French when she isn't talking like someone from the Lower East Side of New York. What Miss Blondell doesn't know is that the chauffeur she's in love with is Alexander, made up in the disguise by his lawyer, Henry O'Neill, to avoid be subpoenaed.

The comedy is securely carried by Herbert and Miss Farrell, both operating at a great pace, with Miss Blondell playing the more serious of the two young ladies. There's a lovely sequence showing the ladies at work as they subpoena various people for the case, only to be blocked by the calm cynicism of Henry O'Neill as Alexander's lawyer. The happy ending is a bit rushed, and the process photography that makes Herbert such a terrifyingly funny driver is a bit obvious, but the easy camaraderie of Miss Blondell and Miss Farrell, who appeared in five films together, help to make this a superior comedy.

This is one of the better of all those very similar Blondell and Farrell comedies of the mid thirties. It's not brilliant but some thought and effort have gone into this one and the cast seem to be enjoying themselves - that lets us enjoy watching them. These days those pictures would probably have been made as a tv sit-com - they've got a comforting familiarity about them which makes you want to see them all but they do tend to merge into one.....except MISS PACIFIC FLEET which is truly awful.

This one has quite an interesting twisty plot, a lovely upbeat feel to it and some genuinely funny moments. Joan and Glenda both exude warmth and charm and are instantly likeable. Glenda and of course Joan are both gorgeous so are also instantly watchable. Being made after the infamous production code was enforced however means that Joan Blondell is a little more conservatively dressed than in her earlier films but she's still got the sexiest smile anyone's ever had.

It only lasts just over an hour so it's all quite lively but there is a lot of Hugh Herbert who does seem to repeat the same scene several times. He is funny in small doses but perhaps he's in this just a little too much. That same befuddled character he always plays does tend to wear a bit thin after a while. He's still just about amusing in this very silly, very fun little picture.

Two lady process servers will stop at nothing to do their job - but then one falls in love with the man they are stalking...

WE'RE IN THE MONEY was the sort of ephemeral comic frippery which the studios produced almost effortlessly during the 1930's. Well made & highly enjoyable, Depression audiences couldn't seem to get enough of these popular, funny photo dramas.

Joan Blondell & Glenda Farrell are perfectly cast as the fearless, fast-talking females who will try anything to serve their subpoenas. Although Joan gets both top billing and the romantic scenes, both gals are as talented & watchable as they are gorgeous.

Ross Alexander plays Blondell's love interest and he does a very nice job. Remembered now chiefly for his appearance in the classic A MIDSUMMER NIGHT'S DREAM (1935), this talented young man from Brooklyn was gifted with the good looks & acting skills which should have made him a major Hollywood star. Instead, Alexander ended up in mostly forgettable parts in obscure films. Tragically, Ross Alexander died a suicide in 1937, at the age of only 29.

Hugh Herbert, whimsical & wacky as ever, appears as the girls' boss. Whether driving a stolen car or piloting a speeding motorboat, he is equally hilarious. Behind him comes a rank of character actors - Henry O'Neill, E.E. Clive, Lionel Stander, Hobart Cavanaugh - all equally adept at wringing every smile out of any situation. Sharp-eyed movie mavens should spot an unbilled Walter Brennan as a witness at the wedding.

While never stars of the first rank, Joan Blondell (1906-1979) & Glenda Farrell (1904-1971) enlivened scores of films at Warner Bros. throughout the 1930's, especially the eight in which they appeared together. Whether playing gold diggers or working girls, reporters or secretaries, these blonde & brassy ladies were very nearly always a match for whatever leading man was lucky enough to share equal billing alongside them. With a wisecrack or a glance, their characters showed they were ready to take on the world - and any man in it. Never as wickedly brazen as Paramount's Mae West, you always had the feeling that, tough as they were, Blondell & Farrell used their toughness to defend vulnerable hearts ready to break over the right guy. While many performances from seven decades ago can look campy or contrived today, these two lovely ladies are still spirited & sassy.

a minor warner studio output using up its contract players. blondell and farrell spark off each other like an early version of thelma and louise as they serve witness summons on a range of male lugs: a crooner, a wrestler and a wiseguy. an interesting film for the potential it offered for female leads, a potential that hollywood has always underexploited.