She Had to Say Yes

If She Had To Say Yes had kept its cynical edge throughout this film might be undiscovered gem among before the Code pictures. But when it relented and allowed for a kind of happy ending the whole film was totally spoiled.

Loretta Young stars and plays a beautiful young woman working in the garment industry where at least the heterosexual men are really oversexed and expect a little something something on the side when they're buying from a firm. But the older and around the track a few too many times ex-chorus girls just aren't doing it for the buyers.

Number two guy Regis Toomey comes up with the bright idea of using the wholesome young ladies in the stenography pool as 'customer girls' for the buyers. Naturally though, Young is his private preserve. But the lure of a good commission even overcomes that.

Buyer Lyle Talbot is no better a specimen of the male side of humankind as he blows hot and cold and also lets his libido get the better of him. In the end all that seems to be proved is men are beasts.

Another beast in the film is another buyer played by Hugh Herbert. He gives a very restrained performance, mostly on the serious side without his usual manic antics.

She Had To Say Yes had the potential to be a real classic, but its cop out ending blows the whole film up. Loretta does wind up with one of these specimens, but I won't tell.

SHE HAD TO SAY YES (First National Pictures, 1933), directed by Busby Berkeley and George Amy, reunites Loretta Young and Winnie Lightner, having teamed together in PLAYGIRL (1932). With Lightner's name above Young's in PLAYGIRL, as with SHE HAD TO SAY YES, both films belong to Loretta Young, with her name this time around over Lightner's. Being the directorial debuts of dance director, Busby Berkeley, and film editor, George Amy, it is also notable for being the final Warner Brothers production for its leading female players, as well as a chance for both directors in showing they are capable of doing more than their titled professions. Interestingly, Lightner, whose popularity in THE GOLD DIGGERS OF BROADWAY (1929) landed her a series of starring roles for the next few years (1930-1932), including a similar titled drama of SHE COULDN'T SAY NO (1930), for this production, she was obviously being phased out by being given little to do in both plot summary and comedy relief.

Set in New York City, Florence "Flo" Denny (Loretta Young), works for the garment industry of Sol Glass and Company Cloaks and Suits. She is engaged to Tommy Nelson (Regis Toomey), a salesman for the same company. At the staff meeting, its company president, Sol Glass (Ferdinand Gottschalk), who finds stiff competition is forcing his business to be losing sales. Daniel's suggests by having the stenographers acting as customer girls to entertain the out-of-town buyers to obtain new accounts and commissions. With Birdie Reynolds (Suzanne Kilbourn) the first to volunteer, Daniel makes certain that the clean-cut Florence not to become one of them. When Birdie is unavailable to entertain Daniel Drew (Lyle Talbot), an important client arriving from Chicago, Flo volunteers her services, unaware that by doing this, Tommy will be free to spend more time with Birdie. With the help of her close friend and roommate, Maizee (Winnie Lightner), Florence breaks off her engagement with Tommy and finding herself seeing more of Daniel instead. Wanting to earn back her respect by wanting out as a customer's girl, Florence is dismissed from the company, and later finds herself accused of resorting to cheap tactics tin getting Daniel Haines (Hugh Herbert), to sign an important contract for Daniel, leading to misunderstandings regarding her reputation. Co-starring Helen Ware (Mrs. Haines); Harold Waldridge (The Office Boy); Charles Lane (Mr. Bernstein); Harry Holman, Jed Prouty and Fred Kelsey.

For a movie with directorial credit by two men, it is hard to determine which parts of the story were directed by Busby Berkeley and George Amy. The only scenes pertaining to Berkeley's directorial style would probably be the ensemble fashion sequence featuring chorines from his earlier musicals playing models as Renee Whitney, Toby Wing and Barbara Rogers, along with a one girl night club dance segment. George Amy might been responsible for some of the dramatic sequences, but this only a guess on my part.

While Loretta Young carries much of its 64 minute material, Winnie Lightner is limited and virtually forgotten she's was even in the movie by the time the THE END closing title reaches the screen. Regis Toomey and Lyle Talbot do what's expected of them, but nothing more than showing men to be no different from any other male when accusing Flo for the very sin they are most guilty themselves. Hugh Herbert plays it straight, with little of his trademark buffoonery for which he is famous. Scenes move swiftly, but become a little distorted later on.

Never distribute on video cassette, SHE HAD TO SAY YES, a forgotten pre-code battle of the sexes theme quite common for its time, is available for purchase on DVD and viewing on Turner Classic Movies cable channel. (**)

She Had to Say Yes (1933)

** 1/2 (out of 4)

Warner Pre-Code has a sleazy boss coming up with the idea of "offering" girls from his stenographic department to clients in exchange for deals. This is going well until one (Loretta Young) turns down a high-powered client (Lyle Talbot) but soon the two begin to fall in love but more shady deals might happen. This is certainly a strange film for someone like Berkeley to make a debut on but if you're a fan of Warner's Pre-Codes then there should be enough here to keep you entertained even if the film tampers off during the second half. The first half is a pretty interesting mix to the genre as it is hammered home that women are nothing more than sex objects and their only place in the world is to serve men. This certainly isn't a storyline we could see too often in the Golden Era and especially after the Hayes Office took full effect the following year. On that level this film remains entertaining just because of the sexual innuendo, riske storyline and some rather snappy dialogue including a funny little dig at the (then) Republic Party. Young turns in a nice performance because she can perfectly mix that innocent nature with a burning sexuality. Not for a second will anyone not believe she's this sweet girl but at the same time, when she needs to, she can turn on that sexual lure and it too is believable. Talbot is just as usual and he too turns in a nice performance in that Lyle Talbot fashion. What keeps the film from being a total success is the second half of the film when it loses its edge and goes into typical melodrama with one predictable turn after another.

Busby Berkeley went down in cinema history for directing musicals, so it might surprise people to learn that his directorial debut was a pre-code comedy. "She Had to Say Yes" casts Loretta Young as a garment worker whose boss realizes that the company could be losing customers to other stores, so he has his garment workers moonlight as call girls for the customers.

To us nowadays this doesn't seem particularly scandalous, but it was probably these sorts of movies that led to the Hays Code's enforcement (it got created in 1930, but didn't get enforced until 1934). I wouldn't call this a masterpiece, but it does have some funny scenes, namely the meeting in the restaurant. I don't know if the movie's available on any streaming platform, so you'll have to see if a local video store has it.

She Had to Say Yes is a masterful expose' of a Depression-era America that was dominated by men. Exploitation, manipulation, and harassment of women is the focus of every scene. The film clearly casts men as the enemy, as every male role is a sleazy businessman constantly trying to trick a woman into sex or into making money for him. The only help for the female lead comes from her female friend, who helps her to gain some self-assurance near the end of the film.

Loretta Young is superb as the lead, maintaining a heartbreaking look of hope and innocence while suffering through terrible yet socially acceptable abuse from every man in her life. Also, Lyle Talbot gives a jaw-dropping portrayal of sleazy machismo and ruthlessness that lend to a truly frightening ending.

The film is quite depressing and the final lines of dialogue will leave your head spinning. Unfortunately, the film is not readily available, but if you get a chance to see it, it will blow you away.