Une belle blonde

first, to comment on the other comment - I think Franchot Tone's Irish accent was entertainment enough, without Cary attempting a French one!

Anyway, I really enjoyed this film. There's no amazing, original plot and the acting is a little clunky in places, but its all done with such enthusiasm you can't help but love it!

It starts out quite formulaic - showgirl seeks rich husband, finds fake rich man etc - but the leads are so gorgeous you go with it, and then the plot takes a turn (not too subtle, but thats OK).

Once we follow our heroine to Paris, and meet Cary, it really picks up, and there's another clichéd whirlwind romance, followed by call up.

To say more would spoil the plot (though you'll spot every 'twist' a mile off anyway) but its just 'a rollicking good ride', with 3 excellent stars, and a fun script.

Just sit back and enjoy!

SUZY (Metro-Goldwyn-Mayer, 1936), directed by George Fitzmaurice, stars Jean Harlow in the title role not taken from some comic strip character nor anything from a children's story, but one taken from a novel by Herbert Gorman set during the Great War. Stressing more on melodrama than comedy, it's a mix of romance, espionage and war related theme with aerial battles thrown in.

As for the story, Suzy Q, actually Suzy Trent (Jean Harlow), whose philosophy being "blondes never go broke," happens to be an American chorus girl stranded in England. Upon completion in the final performance of "Melodies of 1914," Maisie (Inez Courtney), Suzy's closest her friend, invites her to come with her to Paris, but prefers staying in England hoping to meet some millionaire. She thinks she's met one during a foggy evening after getting nearly run over by a Rolls Royce driven by Knobby (David Clyde), with Terry Moore (Franchot Tone), in the back seat. Making amends for the near accident, Terry takes Suzy home and arranges meeting her again the next day. Hearing the honking sound of his car, she sees Terry awaiting for her in a jeep. Learning the Rolls Royce from the night before was actually borrowed, she also finds Terry is not rich but only an stabilizer inventor working at Schmidt and Company, an engineering firm owned by Mrs. Schmidt (Greta Meyer). Announcing plans on returning to New York, Terry, not wanting to lose Suzy, proposes. After getting married, Terry takes his new bride to the factory showing off his accomplishments. As they embrace, Suzy notices a mysterious woman, with face half covered, approaching from behind Terry, shoots him and disappears. As the sounds of police sirens come nearer, Suzy, afraid of being blamed, runs away, heading for Paris at the very moment the war has started. Maisie gets Suzy a job singing at the Cafe De Anges where she encounters Andre Charville (Cary Grant), a French aviator whom she soon marries. While away at war, Suzy remains at the estate of Andre's father (Lewis Stone), who grows fond of her, but keeps secret of his son's infidelity. When Suzy visits the wounded Andre in the hospital, she encounters his friend, Captain Terry Moore, very much alive. Accusing her as a title-hunter, regardless of her explanations, Terry wants nothing to do with her. About to confess her past to Andre, Suzy catches him in a romantic embrace with Madame Diane Eyrelle (Benita Hume), his mistress who happens to be the woman who shot Terry.

Returning Harlow to World War setting for the first time since her breakthrough performance in HELL'S ANGELS (United Artists, 1930), she's come a long way since then, from self-sufficient, tough talking, immoral and/or sometimes conniving young blondes. Harlow's Suzy comes across as softer, kinder, considerate and most of all, loyal, particularly to her two husbands. During those 94 minutes, Suzy acquires fast relationships before marrying, two weeks with love with Terry (Tone); and five hour courtship with Andre (Grant) following an air raid. The screenplay divides the two in half hour intervals before uniting the trio for its final portion of the story. Cary Grant, third billed in his MGM debut, is surprisingly more secondary performance than Tone. Not quite Academy Award winning material, SUZY did earn a nomination for best song. Not quite "If You Knew Susie," but a new one, "Did I Remember?" by Walter Donaldson and Harold Adamson. Vocalized twice by the dubbed Harlow, first at a cabaret, reprized by Grant, surprisingly effective using his own voice, and once more by Harlow in sentimental form while playing the piano at her father-in-law's home.

Contrived story is basically helped along by with the moral support of her male co-stars. British born Cary Grant seems surprisingly miscast as a French aviator, though fortunately never attempts a French accent, neither does Lewis Stone looking more British with his white mustache than French, if his role required him to be French. Grant's byplay with Harlow during their courtship is quite amusing, almost to a point of becoming a comedy. Although Tone might have assumed the French ace role instead, he might not been able to put off the humor as convincing not believable playing the unfaithful husband. Harlow, better known for comedy, does what she could as a serious actress. She's not so convincing with her outburst to her two men as the female spy (Hume) enters the room, "There she is. She's the one that shot him." Another drawback for Harlow is having her gowned in modern head-dress and costumes for a story set in and after 1914. Inez Courtney as the comedic friend disappears early while Una O'Connor as Mrs. Bradley, the kindly landlady of the boarding house, makes the most of what she's given. Stanley Morner, better known as Dennis Morgan, can be glimpsed briefly as one of the soldiers at the cabaret.

The stranded show-girl loved by two men theme must have been the inspiration for one called MAISIE (1939) that soon prospered into a film series starring another MGM blonde, Ann Sothern, As with both characters in a line summed up in SUZY, "there's no end to your loyalty." Maisie was loyal, too.

SUZY, distributed to home video in the 1990s, should be acceptable viewing for Harlow fans whenever it turns up on Turner Classic Movies. (**1/2)

The main attraction of 'Suzy' for me was the cast, namely Jean Harlow (a very charming actress who died far too young with so much more to give) and Cary Grant (have always loved him, both in comedy and drama). The story also sounded interesting, though there was the worry from the sounds of it of whether it would try to do too much, and my love for classic film, and film in general of all genres and decades, played a big factor further.

'Suzy' turned out to be a worthwhile film with a lot working in its favour, the cast being one of the main assets. It is uneven and there are a few knocks against it (story-related mainly, am not going to go into the whole lack of authenticity in the accents, decided to suspend my disbelief on that one and judged the actors by their overall performance). But generally 'Suzy' is a film deserving of more credit than it gets. It was the only feature film pairing of Harlow and Grant, and judging from their work and chemistry one does wish they did more films together.

As said, 'Suzy' is not perfect in the story. Do think it tries to do too much in balancing too many tones that it left some confused spots. The start is on the slow side.

More problematic was, as has been said, the too coincidence heavy and sometimes silly third act.

However, 'Suzy' is nicely photographed and the outtakes from 'Hell's Angel' that formed the flying sequences were exciting and didn't look cheap or stock. The music fits well and the film is directed with good balance and control. The song "Did I Remember" is one of the film's highlights. The script provokes thought and both entertains and intrigues.

Likewise with the story, which comes to life once the action gets to Paris and has fun and tension, as well as a solid pace. The tension and pathos of the character chemistry, romantic or not, really elevates the film, as does the surprisingly well rounded characters. Characters that are all round beautifully played, as said decided to ignore the accents. With accents it for me is always less forgivable when the rest of the performance isn't good. Harlow is her usual charming self and Grant is surprisingly comfortable and credible as an amoral cad (the complete opposite of his usual roles). Franchot Tone has fun in his role and Lewis Stone brings moving, understated dignity to his.

In conclusion, pretty good. 7/10 Bethany Cox

In my mind "Suzy" is one of the best performances by Jean Harlow, who is in virtually every scene, and who manages to underplay her role as America's sex goddess. She isn't helped by the ridiculous Irish accent of Franchot Tone nor the so-called French aviation ace played by Cary Grant with his normal British accent. Not withstanding the problems with the accents, Grant is as delightful as he always was in these 30s comedies, although this particular film is a mix of comedy, romance, and drama. Perhaps this is the only real problem with the film – in an attempt to be comedy, romance, and drama the writers give short shift to each of the elements. The comedy isn't all that funny, the drama doesn't keep you on the edge of your seat, and the romance won't win your heart. But what this film does deliver is a great performance from Harlow in one of her last films.

I greatly enjoyed this--the second of seven films from my 'Jean Harlow: The 100th Anniversary Collection' put out by Warner Archives, unfortunately not with anything in the way of DVD extras (except for a cool, unadvertised set of postcards), and only three of the films were remastered. So it was as if they were perhaps celebrating her, say, 99th birthday and not going all-out like they could and should have, since she DID single-handedly save the studio from bankruptcy three years prior.

I like the way filmmakers back then didn't care if a French actor was playing an Irish inventor and an English actor was portraying a French pilot. THESE days, there'd be sheer, unadulterated hell to pay.

It was a really strange mix of genres, to get absolutely everybody into the seats. I could just see the pitch at the board meeting now: '1914 period piece romantic-comedy mixed with wartime spy thriller and musical'. But Harlow knocked it out of the ballpark, just like she always did. Supertrooper right to the very end.