Fast and Loose

This, the second cinematic version of THE BEST PEOPLE, a play by Avery Hopwood and David Gray that was first staged in 1924 and filmed in 1925, is a period piece that glides over the best efforts of time, its serio-comic point of view intact, a smartly paced affair presenting a strong opportunity for role development beneath its frothy Roaring Twenties backdrop. Paramount casts new contractee Miriam Hopkins for her film debut as wealthy Marian Lenox, along with Charles Starrett as her chauffeur and beau, Carole Lombard ( the "e" was added by a title scribbler for this film), Frank Morgan and whimsical Ilka Chase, all in top form, whilst Preston Sturges reconditions an already witty storyline. The setting is Long Island, where the Lenox clan resides, and where agitation reigns due to prospects of the family's adult son and daughter marrying below their station (to a chauffeur and a chorus girl), culminating with the entire family unintentionally meeting at a roadhouse speakeasy, whereupon a police raid adds to the growing embarrassment and consternation for two generations of Lenox family members. The film is smartly directed, and acted with verve by all cast members, Hopkins a lively delight and reliable Morgan as solid as ever, although it is Broadway standout Chase who steals acting honours with her uninhibited performance, each benefiting from the pungent dialogue of Sturges that maintains an airy tone for a sophisticated romp, this version topping its silent screen predecessor in all elements except for Warner Baxter's memorable playing of the prideful and lovelorn chauffeur.

This unheralded little light comedy-drama was a happy surprise; when it is discussed it usually is panned harshly (Leonard Maltin I believe rated it only one and a half stars) but I found it very appealing and a pleasant film. Star Miriam Hopkins is a bit of an acquired taste, there is always a touch of sourness to her performances, no sweet, friendly ingenue she, unlike most blonde star. Give her a role where she is caustic or scheming however and she is superbly cast (Becky Sharp, The Old Maid, Old Acquaintance) and gives a great performance. Here she plays a role a touch in that vein and it's one of best performances and let's her have a warmer edge to her mischievousness. She's a bored heriess engaged to a Lord she's disinterested strictly because her family wants her to marry a title (it's a nice touch while the Lord is in the relationship for the money as per usual, he's not the sleazy creep of other films but rather a dullard.) Miriam adores her brother (Barry Hutchinson) who is secretly engaged to chorus girl Carole Lombard and envies their loving, playful relationship. She breaks the engagement in pursuit of real love and stumbles upon handsome hunk Charles Starrett at the beach. They quarrel a bit that first night but Miriam comes back for seconds the next night, finding romance for the first time. Trouble is she eventually learns he is a mechanic and she is an heiress - and he happens to be employed by her father. When Miriam and Barry's father learns of his romance with showgirl Carole he schemes to buy her off, unaware his daughter is also now in a relationship "beneath" the family.

Charles Starrett would be a popular western movie star a few years later but here is one gorgeous hunk of a romantic leading man (check out those photos on the IMDb page to this movie!) very believable as the sort of Adonis a love-struck woman would chase after despite any obstacles. (I also found it amusing that his somewhat strong Southern accent provokes Miriam's own to come to the surface at times, particularly on certain words.) Carole Lombard is lovely but hers is a pretty small part despite her second billing (understandable since she was the only Paramount contract player in the film besides Miriam) and the rather unknown Barry Hutchinson is very good as the boozy brother. Ilka Chase is a revelation as Carole's horny, man-hungry pal. Ms. Chase is best known for playing elegant society women like Bette Davis' sister-in-law in Now Voyager but here she's a thin, physical comedienne along the lines of Charlotte Greenwood and Joan Davis. Fast and Loose is indeed fast and rather loose, too. Recommended.

Marion (Miriam Hopkins) is engaged to Rockingham (David Hutcheson). She does not love him and you know that their relationship isn't going to work out. It doesn't. She calls it off so that she can spend her time with Henry (Charles Starrett), a mechanic. This is too much for Marion's mother, Carrie (Winifred Harris) who is a socially aspiring nightmare of a woman. Carrie is dealt another blow when her son, Bertie (Henry Wadsworth) announces his intention to marry a chorus girl Alice (Carole Lombard). Marion's father, Bronson (Frank Morgan) plays the voice of reason and engineers a happy ending.

This film belongs to Miriam Hopkins. Whenever she is on screen you are never far from a quality insult, especially in the scenes with Charles Starrett when they go swimming at night. She effortlessly insults him and it's great fun to watch. Unfortunately, he is a bit of a lughead and comes nowhere near the level of acting competency or talent that is demonstrated by Hopkins. He is just a big, stupid guy who likes cars. Carole Lombard hardly has a thing to do and is upstaged by her companion, Millie (Ilka Chase). The film is funny and moves at a good pace. It's the usual boy v girl story where we know what is going to happen and it's fun to watch how they get there.

When the movie starts, you learn that a wild society girl, Marion (Miriam Hopkins), is about to marry some stuffy inbred dullard. The marriage would seem doomed from the outset...and fortunately, Marion realizes this before it's too late. How? Well, she meets a nice normal guy and she's captivated by him. Unfortunately for her snobbish mother, the guy is a mechanic. But here's the rub...he is a smart guy and wants nothing to do with marrying Marion, as she's totally spoiled! And, it turns out, her brother wants to marry a chorus girl...and she doesn't think he's good enough for her...as he's totally spoiled as well! Is there any hope?

This film is cute and enjoyable. Predictable? Of course...but a nice little film with a few nice performances....and particularly good for 1930.

Considering that this was adapted from a play (by nailing a camera to the end of the stage), you'd think the characters would have been more rounded. Shallow one-dimensional characters and a tiresome cliched story isn't the best combination for an entertaining movie.

The most disappointing aspect of this picture is that it doesn't convey any of the atmosphere you often get in a film from 1930. Maybe that's because of its stagey origin or maybe it's because it's based on a stuffy play from the early twenties? The plot has been done a million times and usually done a lot better than this. The acting is fine - not naturalistic but ok for 1930. Miriam Hopkins, in her first talkie is the most impressive and almost believable but the rest are just a bunch of actors reading lines from a script they've seemingly just been handed. It's not their fault but they're just poorly written parts.

We have stock stereotypes: stuffy, entitled and snobbish parents, spoilt, entitled and irresponsible youngsters and pure as the driven snow salt of the earth types. It's one of those lazily written films where the rich are all horrible and the poor are perfect. Not perhaps an obvious theme from Paramount considering their typical audience demographic but the rich eventually and predictably become unfeasibly lovey, lovely people so that willing appease their consciences.

I've seen worse but I'll not be searching out any more films from Fred Newmayer.