Vor Blondinen wird gewarnt

Stew Smith is a salt of the earth, street smart, cynical wisecracking reporter who's proud of his $75 a week salary. While tracking a story about a rich kid involved in a breach of promise suit, he gets involved with the Schuylers. This group of nitwits is a super-rich family trying desperately to avoid bad publicity. Stew catches the eye of the gorgeous Ann Schuyler, and the two fall madly in love to the absolute horror of Anne's snooty mother (who unfortunately is afflicted with gastritis). Indeed, Stew and Ann actually get married--with predictably catastrophic results. How will the filmmakers deliver Stew out of Ann's arms and into the arms of Gallagher--the equally gorgeous reporter who's madly in love with Stew?

This wonderful Frank Capra comedy must have appealed greatly to the sentiments of the 1931 audience at the very depths of the Depression. The Schuylers (and their idiot lawyer Dexter Grayson) were everything that people loved to hate--snooty, superior, stupid, wholly undeserving of their vast riches. They are mocked ruthlessly, while Stew Smith and Gallagher, as worthy representatives of the working class, are portrayed with understanding and compassion. Stew briefly embraces the idle life of the super-rich (even to wearing garters), but, of course, this doesn't last long.

This is more than just a film for Frank Capra fans--it's a glorious spoof of the old-time newspaper business and a tasty bit of social history.

Platinum Blonde launched so many careers - the most infamous being Frank Capra and Jean Harlow. It is not a perfect film by any stretch of the imagination. The sound is bad, Harlow is terribly miscast, and poor Loretta Young struggles valiantly to bring depth to a part that is the filmic equivalent of wallpaper. As many have said before me, she and Harlow would have done well to reverse roles.

But the greatest on screen portrayal of fresh, modern, naturalistic acting (a style that later would be attributed to James Dean) is from the wonderful, refreshingly brilliant young Robert Williams in 1931!!!!! I would never mark this film as a masterpiece, yet I would encourage all struggling male actors to study this man's work as a prime example of how to dominate a scene without any artifice or aggression. Every time he enters a room, the whole film lights up, and every time he leaves, all the other actors seem to lose their purpose and energy.

I have never seen such simple perfection, and I am saddened to no end to learn of his untimely death at thirty-four, just as he was starting to get roles worthy of his genius. I could not get enough of this man's work, and regret having so little of it to view. An absolute must see for Robert Williams alone!

Robert Williams doesn't even get any billing n the DVD cover or on other promotions of this film, but he IS the star of the film....and he is outstanding.

Williams could have been a major star, a very well-known actor, had he not died four days after this picture was released with a ruptured appendix. The man simply puts on an acting clinic here. I wonder if young aspiring actors are ever shown this film and told to study Williams? If is wasn't for this film, I assume nobody would ever know about this guy.

Anyway, the movie is really dated but its interesting thanks to some great dialog, mainly, once again, by Williams. Jean Harlow gets the billing but a young Loretta Young has the real beauty and charm here. Too bad her role was so minor and bland. She looked absolutely gorgeous.

The storyline is one of Hollywood's favorite themes: the average Joe beating up on the snobby rich people. Harlow's "mother" in here (Louise Closser Hale) plays that snob role perfectly.

Even though I just gave it six stars, there are lots of laughs in this film and it was a lot better than I thought it would be. Watching Williams' acting performance is worth the price of the disc, and then some.

PLATINUM BLONDE marks the start of three careers- First, Frank Capra. He has a natural style of handling actors. There is scene where lovebirds Jean Harlow and Robert Williams mock sing-song to each other. It feels improvised, very natural, unlike the stage learned dialog that infested early talkies. He's experimental with camera angles, and playing with sound (One scene is filmed by a crackling fountain) and he keeps the pace and dialog delivery going at rocket pace. Then you have Jean Harlow. Wow, do you have Jean Harlow! Not only is she stunningly beautiful (even when photographed from behind) but she has a cool, likable wit (She suppose to be a society dame, but she makes the character so likable, you just want to hang around). Thirdly, you have Robert Williams, who was just starting to make a name for himself with this 1931 film. Sadly, this bristling talent died later that year of appendicitis. He's wonderfully energetic, quirky and full of speed (He's so wonderfully jumpy when he feels enclosed in a stuffy mansion you'd think he has Starbucks running through his viens.) PLATINUM BLONDE seems to be dress rehersal for the film Capra would make five years later- MR. DEEDS GOES TO TOWN (My favorite Capra film) Williams (Like Gary Cooper) is labeled "Cinderella Man", he loves yodelling and getting the servants to yodel in his newfound mansion home. Catch this film if you can.

After watching Platinum Blonde, I, like most other viewers, had to look up Robert Williams, wondering whatever happened to him while fearing the worst, the worst being true: he died shortly after he made this film. Tragic! One can wonder endlessly over what might have been. What is clear is that he was a natural for the camera, was highly skilled (years of stage experience behind him), and fit perfectly into the Capra-Riskind universe of tough-but- articulate Everyman up against monied mediocrities. He might well have ended up playing the Clark Gable role in It Happened One Night if he had been around at the time. In fact, the reporter he plays here seems like a first draft for that character. (The plot involves Williams as a reporter falling in love impulsively with the daughter of a wealthy Social Register family only to encounter the usual boobytraps built into such a union.)

The movie itself, though hard to separate from Williams's domination of it, stands up fairly well on its own. There are some imaginative camera movements and setups and intelligent, witty dialogue laced with fizzy Depression-era argot. The story is not very convincing but you suspend disbelief because of the way the actors, dialogue and cinematography bring it to life. The pace is leisurely, sometimes a bit too much so, with many minutes taken up in gentle, playful, ultra-naturalistic banter between Williams and his co-stars. I can't think of another film from that period that detoured so often into that type of throwaway conversational interlude.

Jean Harlow as the heiress and Loretta Young as a newspaper columnist are not ideally cast. Their roles should have been reversed, but it doesn't really matter because both actresses do well. Harlow, who by this time had had relatively little experience in front of a camera, seems right at home about 90% of the time. And it's hard to believe that Loretta Young was only 18 when she made this! But she had already been a veteran of several years standing as a film actress.