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God's Gift to Women

  • 1931
  • Passed
  • 1 घं 12 मि
IMDb रेटिंग
5.1/10
490
आपकी रेटिंग
Frank Fay and Laura La Plante in God's Gift to Women (1931)
A Parisian descendant of Don Juan vows to stop philandering in order to win the hand of a virtous young lady with a disapproving father.
trailer प्ले करें2:09
1 वीडियो
18 फ़ोटो
Dark RomanceTragic RomanceComedyRomance

अपनी भाषा में प्लॉट जोड़ेंA Parisian descendant of Don Juan vows to stop philandering in order to win the hand of a virtous young lady with a disapproving father.A Parisian descendant of Don Juan vows to stop philandering in order to win the hand of a virtous young lady with a disapproving father.A Parisian descendant of Don Juan vows to stop philandering in order to win the hand of a virtous young lady with a disapproving father.

  • निर्देशक
    • Michael Curtiz
  • लेखक
    • Joseph Jackson
    • Raymond Griffith
    • Jane Hinton
  • स्टार
    • Frank Fay
    • Laura La Plante
    • Joan Blondell
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    5.1/10
    490
    आपकी रेटिंग
    • निर्देशक
      • Michael Curtiz
    • लेखक
      • Joseph Jackson
      • Raymond Griffith
      • Jane Hinton
    • स्टार
      • Frank Fay
      • Laura La Plante
      • Joan Blondell
    • 18यूज़र समीक्षाएं
    • 7आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • वीडियो1

    Trailer
    Trailer 2:09
    Trailer

    फ़ोटो17

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
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    + 12
    पोस्टर देखें

    टॉप कलाकार21

    बदलाव करें
    Frank Fay
    Frank Fay
    • Toto Duryea
    Laura La Plante
    Laura La Plante
    • Diane Churchill
    Joan Blondell
    Joan Blondell
    • Fifi
    Charles Winninger
    Charles Winninger
    • John Churchill
    Alan Mowbray
    Alan Mowbray
    • Auguste - Toto's Butler
    Arthur Edmund Carewe
    Arthur Edmund Carewe
    • Dr. Louis Dumont
    Billy House
    Billy House
    • Mons. Cesare
    Yola d'Avril
    Yola d'Avril
    • Dagmar
    John T. Murray
    John T. Murray
    • Mons. Chaumier - An Irate Husband
    Louise Brooks
    Louise Brooks
    • Florine
    Margaret Livingston
    Margaret Livingston
    • Tania Donaliff
    Armand Kaliz
    Armand Kaliz
    • Mons. Rancour
    Charles Judels
    Charles Judels
    • Undertaker
    Tyrell Davis
    Tyrell Davis
    • Basil, called 'Pompom'
    • (as Tyrrell Davis)
    Eleanor Gutöhrlein
    Eleanor Gutöhrlein
    • Maybelle - Party Girl
    • (as Sisters 'G')
    Karla Gutöhrlein
    Karla Gutöhrlein
    • Marie - Party Girl
    • (as Sisters 'G')
    Ethlyne Clair
    Ethlyne Clair
    • Yvonne - Party Girl
    • (बिना क्रेडिट के)
    Bill Elliott
    Bill Elliott
    • Night Club Patron
    • (बिना क्रेडिट के)
    • निर्देशक
      • Michael Curtiz
    • लेखक
      • Joseph Jackson
      • Raymond Griffith
      • Jane Hinton
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं18

    5.1490
    1
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    फ़ीचर्ड समीक्षाएं

    6MikeMagi

    Falling star

    During the 1920s, Frank Fay was the highest paid performer in vaudeville, the comedian from whom Jack Benny candidly admitted he lifted his on-stage style. By 1931 when "God's Gift to Women" was released, he had married Barbara Stanwyck and groomed her for stardom while his own career was rapidly declining. An arrogant drunk with a flair for alienating his fellow performers, Fay's downfall didn't get much sympathy though it purportedly inspired the movie, "A Star is Born." For more than a decade, he was the classic example of a "used-to-was" until the producers of the Broadway play, "Harvey," tapped him to play Elwood P. Dowd. It was among the most memorable stage performances I've ever seen, a classic of fey (sic) whimsy and superb comedy timing. Jimmy Stewart in the screen version, couldn't come close. Suddenly, a far less arrogant Frank Fay was enjoying the accolades that had eluded him since the late 1920s. Watch "God's Gift to Women," a stiff, stilted early pre-code romantic romp and you'll see both why Fay's career went downhill and conversely why he had the ideal vaguely befuddled style to play a man with a six foot tall rabbit as a pal.
    tashman

    Brooks and Blondell steal show!

    Of the six or so films Frank Fay made under his early-talkie Warner contract, half wasted time presenting him as some sort of great lover. Battling this concept takes effort and a lapse in sense, not only by the audience, but by the casts of these pictures. This is especially true of THE MATRIMONIAL BED, is less a problem in BRIGHT LIGHTS, but might have reached the ludicrous in GOD'S GIFT TO WOMEN if not for the sensational women involved. Cast as a descendant of Don Juan (annoyingly called "Toto"), it is a testament to the female talent that there is still a lot of fun to be had despite the fact that Frank Fay seldom shut's his mouth. Though the script hardly gives anyone a chance, Fay's incessant chattering "style" is only matched once, when the savvy Joan Blondell fairly bursts into the man's boudoir -- a brief example of sophisticated bedroom farce. This sequence is followed by another gem, a most unexpected three-way battle over Fay; a sexy brawl taking place atop his bed involving ALL QUIET/WESTERN FRONT'S buxom Yola D'Avril, Miss Blondell, and the legendary and stunningly gorgeous Louise Brooks. Yes, Louise was thrown to the dogs in talking pictures, but here is one time (albeit sans bangs) where she looked and sounded sensational for the few moments we were allowed to see her. Nice moments, too, by perfectly capable, delightful silent players: SUNRISE vamp Margaret Livingston, who turns up to give leading lady Laura La Plante a rough moment. La Plante is lovely, and fully up to the challenge of sound comedy. Though hams abound, Alan Mowbray (as the butler), Tyrell Davis (managing to out-fey even Frank Fay), and the fabulous if underused Charles Winninger manage quite effectively. Merely in it for Louise Brooks (and I can't say as I blame you)? Advance to the bedroom romp, but watch the women cavort throughout the opening nightclub sequence -- there are enough glimpses to satisfy. Watch for the beautiful twins from Universal's KING OF JAZZ, the "Sisters G," both of whom are coiffed in what seems to be Louise Brooks' old hairstyle.
    jimjo1216

    Joan Blondell and Louise Brooks sprinkled in a pre-Code Michael Curtiz comedy?

    I thought this film was much better than its IMDb rating (4.9/10 at the time). It's an obscure early talkie, but it's mildly amusing and, at only 72 minutes, no great waste of time.

    For movie buffs, the draw of this film is its cast and crew. It's one of Joan Blondell's early films and it's a rare opportunity to see iconic silent screen star Louise Brooks in a talkie. It's also one of the few films of popular vaudeville comedian Frank Fay. Familiar character actors like Alan Mowbray and Charles Winninger have supporting roles, and the whole thing is directed by the great Michael Curtiz (CASABLANCA).

    GOD'S GIFT TO WOMEN (1931) is a comedy about romance. Frank Fay plays a modern-day Don Juan, a notorious Parisian playboy and ladies' man who is smitten with an American tourist. His high-living social crowd and various paramours complicate his efforts to win over the girl (and her father) and become a one-woman man. His situation gets tougher when he is diagnosed with an aneurysm that threatens his life if he is overly excited (i.e., "no more girls"). Would he go for that last kiss if he knew it would mean instant death?

    Frank Fay gives a solid comedic performance, with his sort of off-the-cuff wit. He nimbly toes the line of pre-Code profanity, several times saying "Go to --" before abruptly switching gears. He's particularly funny once he learns he's a dying man. There's a fun scene where he quibbles with an undertaker about his funeral arrangements.

    Laura La Plante is a nice-looking girl, but she just doesn't have "it" and she makes for a rather dull leading lady. Luckily she disappears for much of the second half of the film, allowing Curtiz to showcase Joan Blondell, Louise Brooks, and Yola d'Avril buzzing around Fay's bedroom in various states of dress (as they all come to nurse Fay back to health).

    Joan Blondell is a favorite of mine and she sparkles in her secondary role, jumping on top of Frank Fay (who must avoid women, lest his aorta burst) when she finds him an uncooperative patient. Louise Brooks's name is almost lost in the middle of the cast list and she doesn't have a very big part, but she makes an impression in that bedroom farce scene with her alluring attire and screen presence.
    5AlsExGal

    The last of Frank Fay's Warner Brothers films

    Frank Fay was recruited from Broadway by Warner Brothers to be built up into one of their early talkie stars, starting with his emcee role on "Show of Shows" in 1929. Most people really hate the job he does there, but you have to understand that Fay is kidding the audience in that film and in every film he does from that point on for Warners. The problem is, the audience didn't understand this and just found Fay annoying. Two years later he was out of a job as his wife Barbara Stanwyck's star continued to rise.

    I actually like most of Fay's other films because I can see what he is trying to do with the roles, although I think Warner Brothers did him wrong and set him up to fail by trying to make him out to be irresistible to women in several of his roles. In Matrimonial Bed this wasn't too distracting, but here it is just annoying. Surrounded by beautiful women - including Joan Blondell and Louise Brooks, Fay - as Toto, the Romeo of Paris - becomes enamored of Diane Churchill (Laura La Plante) after just a brief meeting and a single dance. Even more annoying, Diane falls for Toto, although she admits to her father she doesn't understand the attraction - that definitely gives her something in common with the audience.

    There are many good comic bits and wise cracks in the film, but it just doesn't hold together well at all. The catfight towards the end is well known as the best thing about the film, with all of Toto's women showing up at once to nurse him back to health after they hear he is ill.

    The sad thing is, you can tell Fay knows he is finished in films at this point. He looks thin and gaunt here compared to Matrimonial Bed made just a year earlier. The story is he began to drink heavily when he realized he wasn't going over with audiences, and his wife's success in Hollywood just made matters worse. It is rumored that "A Star is Born" was based on the Fay/Stanwyck marriage, and I wouldn't be surprised if that is true.

    This one lacks any kind of coherence. Look at it as one long vaudeville act and you'll likely come away more satisfied.
    5gbill-74877

    Watch for Brooks and Blondell

    Frank Fay is horribly miscast in this film, which is about a lothario who falls in love with a sweet young woman (Laura LaPlante). He has absolutely zero screen presence, so making him a descendant of Don Juan who is "god's gift to women" is laughable, and he exacerbates things with a dopey performance, slurred lines, and mispronunciations of names like Monet, Rodin, and Paleozoic. (And I say this not biased over the person he was in real life, the reading of which made me feel bad for Barbara Stanwyck). The film alludes to adultery with several married women carrying on flings with his character without being weirdly punished or judged, nice fodder for a pre-Code film, but it doesn't do nearly enough with this.

    To be honest, it's only watchable for the brief appearances of Louise Brooks and Joan Blondell, who liven things up considerably just after the 40 minute mark. You see, Fay's character has been told he must avoid women because of a heart condition, and that if he wants to live, he "must follow the tranquil existence of an oyster." Blondell shows up in a tight dress to nurse him back to health. As she's changing into something more comfortable in the next room (cut to a long shot of her in long black lingerie), Louise Brooks shows up to do the same (and yes, cut, to her flaunting her legs while changing). Blondell climbs on top of him to get him to stay down in a bed a couple of times, a third girlfriend (Yola d'Avril) enters, and eventually the three women get into a giant catfight on the bed, legs a-flailing. It's damn silly but of course the best part of the film - and I say that with no offense to LaPlante, who looks cute in her smart haircut and does what she can opposite Fay, who's a limp noodle.

    While Blondell was just about to go on a tear in the early 1930's, the film was made at a sad point in Brooks' career. As Kenneth Tynan described it in "Lulu in Hollywood," in 1930 Brooks had gone back to Hollywood, but when she met with Columbia executive Harry Cohn, each time he appeared naked from the waist up. He writes, "Always a plain speaker, he left her in no doubt that good parts would come her way if she responded to his advances. She rebuffed them, and the proffered contract was withdrawn." If you look at the steep dropoff in Brooks' filmography, with this dog of a film one of only three she made in 1931 (and one of the other two a short), it's clear why she went back to New York and almost completely dropped out of the business. Enjoy seeing her here, in a talkie - and notice that while some of the other women in the cast have the hairstyle she made famous, she sports a different look. Otherwise, if you're not a fan of Brooks or Blondell, this is one to skip.

    इस तरह के और

    Crack-Up
    6.5
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    5.3
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    6.4
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    6.5
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    5.7
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    6.4
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    5.9
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    6.0
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    6.4
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    6.6
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    6.6
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    5.8
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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      (at around 23 mins) It is interesting to note that the characters played by Billy House and Tyrell Davis are discussing Toto's mental state while using a "pissoir", or public urinal, on a street in Paris. At the time of this film the city had over 1,200 such structures.
    • गूफ़
      On a map, Toto points out the locations of Cannes and Monte Carlo in the north of France on the coastline of the English Channel. Both cities are in the south of France on the Mediterranean coast.
    • भाव

      Tania Donaliff: [refering to her trip to Africa] But I could never stand intense heat for long.

      Diane Churchill: Then the place I had in mind for you wouldn't do at all.

      Tania Donaliff: No. Huh?

      [chuckles]

      Tania Donaliff: Charming.

    टॉप पसंद

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    • रिलीज़ की तारीख़
      • 13 अप्रैल 1931 (यूनाइटेड स्टेट्स)
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    Frank Fay and Laura La Plante in God's Gift to Women (1931)
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    By what name was God's Gift to Women (1931) officially released in India in English?
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