Play Girl

Loretta Young is perfectly lit here, which enhances her beauty immeasurably, and she is quite believable in this role. I first saw her in her later movies--and on her TV show, swirling through the door every week--so it's quite a revelation to see her at the absolute peak of her talent and looks. Winnie Lightner does her usual gum-chewing, wisecracking shtick, and the rest of the cast is quite good. The script is a little weak, and things get a bit maudlin at times, although the pre-code one-liners are fun. (Winnie, as her bloomers blow off the makeshift clothesline and out the window: "Oh, that was my last pair of panties!" Loretta: "What will you do?" Winnie: "Stay off of ladders!")

The title is meaningless, the story just as pointless, and whatever interest there is to be derived from this girl-loves-gambler weepie comes from the delicate beauty of Loretta Young. The film is a feast for the eyes (with nary a morsel of food for thought) as masterly cinematographer Gregg Toland captures the poetry of Young's huge, soulful peepers and full promising lips with one lovestruck close-up after another. The following year's "Zoo in Budapest" and "Man's Castle" would cement her position as the Depression's most desirable waif, the pin-up girl of the bread lines. With the barrelhouse comedienne Winnie Lightner as her wisecracking pal and Guy Kibbee, criminally wasted as Lightner's swain.

Very early Loretta Young film: she's not even top billed. Winnie Lightner is - an interesting younger character actress. But it really is Loretta's movie. The plot involves Loretta's character falling in love with a gambler - and the complications which arise. Norman Foster plays the gambler: ironically, he married Miss Young's sister (Sally Blane) in 1937 - after being divorced from Claudette Colbert. Most memorable scenes in this movie are set in a department store circa 1932.

Movie is also notable as (apparently) the first movie of a very young James Ellison. Neither the title "Play Girl" or the alternate title "Love on a Budget" really describe this film. Entertaining melodrama from the early days of sound.

Given her origins--her mother died while giving birth to her--Buster Green (Loretta Young) is averse to taking risks and not inclined to marry. Her plan is to rise above her station as a department store clerk through dedicated hard work. But when she meets Wallie Dennis (Norman Foster) she finds herself succumbing to his spontaneous style and marries him--only to find out on their honeymoon that he makes his "living" as a gambler.

He promises to reform but betrays her faith in him time and again. So when she finds herself pregnant she feels she has no choice but to cast him out and go it alone. Faced with mounting bills and prospect of giving birth to her child in poverty, she turns to gambling herself in a desperate attempt to reverse her fortunes.

19 year old Loretta Young is superb in this cautionary romantic tale; her combination of pluck and beauty make us root for her all the way. Winnie Lightner, playing her stalwart friend and defender Georgine, lends the story a down-to-earth realism as well as comic relief.

Gregg Toland's cinematography is crisp and economical--a highlight is the suspenseful scene that overlays a slow zooming in on Young's reactions over exciting footage of the horses at the track as her horse gains on the others in the race. Ray Enright's pacing of the story is masterful: the last ten minutes as things come to a head will keep you on the edge of your seat.

This general storyline has been filmed dozens of times--but Loretta Young's performance and the taut direction makes this one a keeper!

One-third knockabout comedy, two-thirds weepie as mad Winnie Lightner gets top billing and chews up the scenery as Loretta Young's gal-pal, but is really incidental to the story and disappears for long segments. (She does get some good insults in, scrapping with fellow salesgirl Dorothy Burgess.) But the bulk of it is Loretta in distress, falling reluctantly for gambler Norman Foster, marrying him, quitting her job, getting pregnant, then throwing him out of the house when she mistakenly thinks he's returned to his gambling ways after getting an honest job as a garage mechanic. (Where'd he acquire the skill? No idea.) He returns at the darnedest time, just in time for a happy ending. The always dull direction of Ray Enright does nothing to enhance this, and it feels a little like two movies sewn into one one-hour feature, but Gregg Toland's cinematography is lovely, and Loretta in a quintessential suffering-Depression-gal role she played many times is worth watching.