Shopworn

This fast-moving film features Barbara Stanwyck in her early period when she usually played a tough, lower-class dame with a hot temper who stands fast to her principles. This character is virtually identical to the ones she played in NIGHT NURSE, LADIES THEY TALK ABOUT and BABY FACE. Here she is a waitress who falls in love with a rather bland medical student (Regis Toomey) whose nasty and snobbish mother (an excellent and truly scary Clara Blandick) schemes with a corrupt judge (Oscar Apfel) to separate the young lovers by sending Stanwyck to one of those reformatories that pop up so frequently in films of this era. The ever-fluttery Zasu Pitts is on hand as Stanwyck's aunt - what a comedown from GREED.

In one scene Stanwyck, trying to memorize the dictionary as a means of self improvement, shows her suitor a list of words beginning with the letter "e" which she has written down. He reads them aloud, stops after "ejaculate," looks at her with some curiosity and says that even he would never use such a word. That moment immediately pigeonholes this film as pre-Code. The scene continues artfully with one-word exchanges all starting with the letter "e." Later, while Lucien Littlefeld is conversing about the Stanwyck-Toomey relationship with Oscar Apfel, a couple of lines are very clumsily overdubbed by other actors. Makes one wonder what was actually said. Late in the film there is an imaginative banquet scene in which the camera carefully pans the length of a dining table highlighting the place cards (each a little paper doll inscribed with a guest's name) while the corresponding but off-screen voices converse on the soundtrack; then the camera moves back to reveal the whole table and all of the people we have been listening to. The yard between the diner where Stanwyck works and the house where the owners live is well depicted: tattered laundry hanging on a line, overflowing garbage cans and kittens playing.

The screenwriter Robert Riskin contributes some snappy and witty dialogue. He worked quite frequently with Frank Capra, penning the scripts for IT HAPPENED ONE NIGHT, MEET JOHN DOE, LADY FOR A DAY and MR. DEEDS GOES TO TOWN, among others. All of these films address the issue of "decency" – what truly constitutes decency? Saying you are decent or actually being decent?

Shopworn (1932)

** 1/2 (out of 4)

Barbara Stanwyck plays Kitty Lane, a poor waitress who one days meets David Livingston (Regis Toomey) who is of course rich and comes from a respectable family. The two fall in love and decide to get married but his rather evil mother (Clara Blandick) will stop at nothing to keep them apart. Thinking he has left her, Kitty goes out to make something of herself. SHOPWORN is pretty predictable from start to finish but the attractive cast makes the film worth sitting through and especially since it runs a very fast 68-minutes. There's no question that the screenplay could have used a little work because everything that happens seems rather predictable and unoriginal even for 1932 standards. The poor girl being looked down upon by rich people is something we've seen many times and there's really nothing new done with it here. Even what happens to the character after she becomes famous is pretty standard stuff. What keeps the film moving along so well are the performances and especially the one from Stanwyck. She delivers a really well rounded performance as she perfectly nails both the tough and tender side of the character. Toomey is also quite good as the love interest and there's no question that Blandick does a very good job as the snake-hissing villain. Zasu Pitts is wasted in a supporting role but she's got one funny scene towards the start of the picture. The ending is one you'll see coming from a mile away and at times it gets so silly that I couldn't help but laugh but there's still enough going on here to make it worth viewing.

This is a pretty ordinary little film about a young waitress (Barbara Stanwyck) who falls in love with a wealthy college student (Regis Toomey) who will go on to become a doctor, and how his mother strives to break up their relationship. I rounded it up a bit because of Stanwyck's performance; she is such a natural and has a couple of great scenes. I also liked how she was such a strong woman - her character was toughened by her father's death, and she stands up to unwanted advances while waitressing, endures being sent away to a woman's reformatory on morality charges, and tells Toomey off when he returns to her after she's made it as a dancer. Being committed for trumped up morality reasons is outrageous today, but it was reality then, and the mother had also considered getting her committed to an asylum, a real practice stemming from the 19th century. If you don't like 'em or they're threatening in some way, lock 'em up. The ending is unfortunately a little dippy, but you could do worse than watch this one, and it's almost entirely due to Stanywck.

One of the great scenes has her throwing money in a guy's face after he tries to bribe her into leaving town to get her out of Toomey's life: "What are you trying to make of me - what you wish I was? Something cheap and common, something that money can buy? Well, you can't. Nobody can! You and the nice, decent people who sent you here are the real cheap ones, trying to put a price on something there isn't any price for! If that's being decent, I'm glad I'm common! If that's being rich, I'm glad I'm cheap, and I'm gonna stay cheap! Because no matter how cheap I am, I'm not for sale!"

TCM recently featured Barbara Stanwyck as their star of the month, giving them an opportunity to show a good number of the numerous films she pumped out very early in her career with Warner Brothers and Columbia. It is fascinating to watch several movies with the same star immediately one after another, because this way you get to determine how good an actor really is: do they become tiresome, or do they have staying power?

Barbara Stanwyck was the real thing. Thanks to her understated skills, I found myself appreciating her more and more, the more films of hers I watched. By herself she could pull even the weakest script into something worth watching.

"Shopworn", a typical quicky, was one of the best from those early days. Her range of talent was immense, playing, within this one film, a poverty-stricken waif and a successful Broadway star, playing happy and sad, incensed and appreciative, kindly and outraged, always with a dignity and slight detachment that are wondrous to watch. Again, it is sometimes only by watching multiple films of hers in succession to these nuances start to really make themselves known.

This is a strong film, with a very good cast. Regis Toomey is very likable as Stanwyck's love interest, and Clara Blandick and Oscar Apfel, as Toomey's mother and her consort, are deliciously manipulative and evil. Zasu Pitts adds a little mild comedy to the proceedings, providing a nice contrast.

Look for some very brave and quite interesting camera angles and panning sequences; one particularly good shot was taken of Stanwyck reaching under her bed for a suitcase - the camera is at floor level, shooting the scene from under the bed! Very unique and perhaps a little experimental for the time.

I highly recommend this fast-paced little film; and highly recommend seeking out early Barbara Stanwyck gems like this!

Working class heroine Barbara Stanwyck is tough as nails as she spits in "decent society's" face rather than buckle to bribe or threat as a waitress in an other side of the tracks romance with a med student in Shopworn.

The son of an overly possessive mother, David Livingston falls hard for tip chaser Kitty Lane at a local greasy spoon. Clinging mom is not about to let this happen and she wastes no time in exercising her considerable pull in getting a big time judge relative to send her to the slammer for 90 days on morals charges. Upon release Kitty goes on stage and makes it big. Six years later she runs into David, now a doctor again along with his mother still intent on keeping a firm grip on him.

There is some very ugly abuse of power that takes place in Shopworn as the son obsessed mother badgers the judge to do her corrupt bidding in getting Kitty out of the way. There are also swipes at law enforcement, the penal system and polite society, with Kitty being an ideal lynch pin for such actions. As Kitty, Stanwyck does an excellent job of vociferously exposing hypocrisy, especially in the scene where she is bribed and threatened as she throws the money in the judge's face and berates the police. The ending is contrived however and the sickeningly sweet finale is hard to swallow. Babs is too good for the lot of 'em. Mom and son (a wincingly woosie performance by Regis Toomey) don't deserve to be in the same room as her.