The Greeks Had a Word for Them

This fun, pre-code romp from 1932 starring Joan Blondell, Madge Evans, Ina Claire, was remade in color in 1953 as How to Marry a Millionaire. Similar plot, but in the original, the girls steal boyfriends (David Manners and Phillips Smalley) from each other, where as in the remake, they each find their own man, and then have to decide if they want to keep them or not. Interesting that Betty Grable, who starred in the 1953 version had appeared as a hat check girl in the 1932 version. This was one of the last films directed by Lowell Sherman ( also played Boris Feldman in the film) as he died two years after filming this. Ina Claire (played Jean) would have been the oldest of the three co-stars, 39 years old in 1932, and she only made three more after this. "The Greeks" was made during prohibition, so of course part of it takes place in a loud, smoke-filled "speakeasy". Lots of dark eye makeup, and the picture and sound quality are pretty terrible in the version I watched, but this IS a pretty old flick. A little slow, but fun if you have the patience. Gives you an idea of how some of the young, poor women got by in those days if they weren't willing to go look for work.

Polaire (Madge Evans), and Schatzi (Joan Blondell), are two Broadway actresses with manageable problems, but when their conniving friend Jean (Ina Claire) returns from Paris, broke and in search of a rich husband, their tranquility is upended. Polaire is trusting, and engaged to the honorable and wealthy Dey (David Manners). Schatzi has Pops, a sugar daddy, who remains off screen. Jean then goes to work trying to break them up, so she can have the men to herself.

Lowell Sherman ably directs and appears as Boris, a famous concert pianist who bets Jean money he can make her fall in love with him, but Boris falls for Polaire instead, allowing Jean an opportunity to wreck another couple. Jean's problem isn't that she's too clever for own good, it's that she needs excitement dull but respectable men can't provide. Once she has the money to send her away, and quiet down any scandal, Jean can do what she loves most: being in the company of Polaire and Schatzi. Adapted from Zoe Akins's play, the film is sprinkled with bon mots, and is a funny and sophisticated look at the complexity of female friendship.

Joan Blondell, Madge Evans, and Ina Claire bring the Zoe Akins comedy, The Greeks Had A Word For It to the big screen. It's the story of three women who have determined that the good times of the 20s won't last and they're all determined to marry men who can support them in good style. By the time the play was making its 253 performance run on Broadway the Depression was upon us. No doubt those in the audience were saying how wise these girls were.

All three are different personality types, Claire's character isn't the noblest of God's creations, but they do have a bond with each other that seems to override all.

Adkins wrote some really great lines and the three of them, especially Blondell deliver those pre-Code zingers with pizazz. Those lines she didn't write Sidney Howard did for the screen and between the two of them we got one good script.

The American cinema has given us four versions of this story, the others being Three Blind Mice, Moon Over Miami, and How To Marry A Millionaire. All of them were updated to suit the times they were made in. An easy task to do because Akins is writing about eternal situations.

For fans of the leads, especially Blondell.

Though this story of three girls on the lookout for rich men inspired How to Marry a Millionaire, the gals in this pre-Code original hardly hold out for marriage! Sugar daddies will do as well as husbands, and even better in the case of one who prefers an illicit good time to a rich husband. Joan Blondell, as the good sport, doesn't have enough screen time but is quite effective when she does--the catfight in the beauty parlour, with its mudpacks and a hair-waving machine that looks like a giant squid, is a riot. Madge Evans is the sweet one who nevertheless forsakes her sweet boyfriend for wealthy Lowell Sherman's offer of musical training, which clearly includes some very intimate private tuition. Ina Claire is the wildly unscrupulous one, who cheats, steals, and tells outrageous lies to keep herself in champagne and chinchilla. The clothes are gorgeous--slinky evening gowns that look like lingerie--and the wisecracks are as sharp as the diamonds the girls crave (remember that this was the era of Gentlemen Prefer Blondes). A man, asking for the men's room, is told "It's the door that says Gentlemen--but don't let that stop you." When the two other girls meet Ina Claire returning on an ocean liner, one says, "Look, she doesn't have a man--you'd think she'd be afraid of catching cold." There's no plot to speak of, just a series of incidents, which gets a bit wearying, and it's bizarre that the other two keep reconciling with the treacherous, bitchy Ina Claire character. But for a frivolous, glamorous, unsentimental look at love and money, this is hard to beat.

I read with interest the comments of the critic for "Three Broadway Girls." Then I saw the movie. I must say that in accordance with the critic's 2007 standards, he was quite correct in his analysis. However, I am now 80 years old and remember the pictures in those days fairly well. I would say that the critic must be in his 30's or 40's for he evaluates the content and acting with those skills of 2007. If he were a critic in 1932 or the 30's for that matter, I think he would find this a 'charming' bit of humorous story telling. I would offer that those who criticize motion pictures should take into account the era in which they were made, and NOT evaluate them with the 2007 era standards.