Bed of Roses

Actually, not a bad film for an old antique. Bennett and Kelton are two prosties with no shame in their game. The films open with the girls having served their time---either for soliciting or theft--and getting booted out of the clink. Bennett rolls a drunk for his bankroll aboard a barge headed down the river. She gets busted by an adamant Matt McHugh, and jumps overboard rather than face the music and go back and do more time. She is fished out of the river by Joel Macrae, who skippers a cotton barge. Despite his kindness to her, she rolls him too--for the whole payroll...and skips. But this time, her conscience gets to her...and she discovers love. She pays him back...instead of blowing a fuse, he proposes to her. But she is busy milking another sucker, a sugar daddy she meets by way of deceit. He falls for her, and takes her in, giving her some stability. But...love will out...she's ready and willing to throw it all away because she loves the cotton barge skipper. But , she has a past that needs to be reconciled, and sugar daddy beats her over the head with it. So, with love in her heart, but with low self esteem and fear of rejection by the lover she has at long last found, she dis-appears, even gets a job ! Remarkable. Macrae finally finds her, and what happens is the stuff fairy tales are made of. The film is a worthwhile watch, though I am certain that audiences of the early '30s did not look upon it the same way they would some half a century later with the likes of Julia Roberts and Richard Gere. Pert Kelton gets special mention...she steals her share of scenes and was quite a siren of the screen during that period...she had sex-appeal that oozed and dripped from the screen. Maybe it did her more harm than good, but she is one of the sexiest women on the screen during this period. One line she utters that I really like is "...I'll take vanilla", one of the strident wisecracks of the screen during this time. Also, Mildred Washington appears, playing a maid. Mildred did not shuffle, and was a star in her own right on the Black circuit. Her unfortunate early death robbed us of a presence on film that was both intelligent and vivacious. See this film...despite its age, it deals with the subject matter realistically, for the most part, is well made, and very entertaining.

Bed Of Roses is the fourth and final film that Joel McCrea and Constance Bennett did which certainly should qualify them as a screen team. Paired by RKO Pictures the two worked well together.

The fact that both Bennett and Pert Kelton are a pair of prostitutes recently released from prison qualifies this film as a before the Code classic. The picture is quite frank about what they do.

In fact they're back doing it as soon as they're released shows they haven't repented. But both are looking for some comfortable permanent arrangements. For Kelton she manages to rope a traveling salesman, but in that same dodge Bennett jumps off a Mississipi riverboat fleeing from the captain after she's caught rolling another of the salesman for his dough.

Where she's picked up by Joel McCrea who runs and lives on a cotton barge. Thanks, but no thanks says Bennett, she's after bigger game and lands it in the person of New Orleans millionaire John Halliday.

I won't say any more, you know how this will end. And remember this is before the Code went in place. The lack of the Code made motion pictures a lot more free with details, but the American movie-going public expected stories to go a certain way.

What might have been nice is a bit more of Pert Kelton, her scenes have some real bite to them, but Bennett and McCrea acquit themselves well here.

A witty vehicle for the beautiful Constance Bennett, this has dialogue that seems to aspire to that of Noel Coward.

Bennett and the delightful Pert Kelton leave prison at the same time. (Later, Bennett refers to Kelton as her roommate from convent. One wonders if Patrick Dennis was inspired by this when he had Belle Poitrine describe her reform school friend Winnie as a friend from boarding school. This occurs in "Little Me," one of the most hilarious books ever written and surely, 40 years or more after its publication, a dead-on commentary on movie star autobiographies.) Bernnett finds herself a nice sugar daddy in John Halliday. He sets her up in some swank apartment, let me tell you! Alas, she meets Joel McCrea, here the owner of a fishing boat. He looks bony here -- but as gorgeous a man as ever graced the screen. His only equal was Gary Cooper around this time.

Bennett falls for him and is willing to dump her riches to take to the sea with him -- as who in his or her right mind would not have. These plans are thwarted by jealous Halliday. But after a Mardi Gras sequence that doesn't entirely work, all ends happily -- at least for our two beautiful stars.

Snappy comedy drama. With all the biting dialogue and crusty dames, I kept thinking '30's Warner Bros. but it's RKO on a Warner's trip. Bennet and Kelton are a couple of hookers on probation looking for a way to get by. So guess what, Bennet meets sugar daddy Halliday who sets her up in comfort after initial misgivings (she probably applied her professional know-how). So it's now a bed of roses except that she can't get over cotton barge captain McCrea. Trouble is he's a straight shooter who might reject her if he finds out about her past. So what's she to do-- stay with sugar daddy or follow her heart and risk rejection. And will Kelton's presence help since she's a constant reminder.

All in all, it's a little gem, with sassy Kelton providing spark. Some of the lines are knee-slappers, like the guy who tells the girl he's a boll-weevil exterminator to which she replies, "I ain't done nothin' ". Mc Crea may get top male billing, but it's really Halliday getting the screentime. Note too how the screenplay finesses prostitution even though 1933 is still pre-Code. And that's along with cracks about Prohibition, which was about to end its 13-dry years. Anyway, thanks to the writers including underrated director La Cava, it's a nifty programmer of the sort old movie fans love to stumble across. I know I did.

Gregory LaCava, shows he is a very inspired director with "Bed of Roses" a film that dealt frankly with things that were to be forgotten when the Hays Code was finally enforced in 1934. This was a different Hollywood, one that took chances in presenting things the way they were, and without being hypocritical about them.

This was obvious a vehicle for Constance Bennett, the beautiful actress. She plays Lorry Evans, who has just been released from jail. Together with her partner, Minnie Brown, they hit New Orleans in search for a meal ticket, preferably a rich man to keep them in style.

Lorry finds such a man in Steve Paige, who is more than generous, but he demands something that the beautiful Lorrie doesn't feel for him, love! She meets hunky Dan Walters, and it's love at first sight, or so it seems. The only problem is that Dan is a poor man who can't give Lorrie what she has been used to.

As far as the melodrama goes, it's pretty conventional. What made an impression on this viewer was the frankness in which the subject matter is presented. Constance Bennett and Joel McCrea are perfect together. Both of them were attractive and young, in contrast with "sugar daddy" John Halliday, who keeps reminding Lorrie about her new acquired tastes. Pert Kelton, is seen as Minnie in a fantastic performance.

This was a film produced in Hollywood before the Code and it shows.