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PARACHUTE JUMPER (1933), famously singled out by Bette Davis as one of the awful films she was required to make in the early years of her Warner Bros. contract, certainly isn't anything substantial. But it's a surprisingly fun Pre-Code flick.

The movie is carried by its three stars: Douglas Fairbanks Jr., Bette Davis, and Frank McHugh. Fairbanks in particular gives a winning, charismatic performance. Fairbanks and McHugh play a couple of ex-airmen who are desperate for work during the Great Depression. They're so broke that they take turns wearing one suit of clothes.

Fairbanks hops around from job to job, from aerial stuntman one day to chauffeur the next, ultimately getting mixed up with rum-running gangsters. (This is a Warner Bros. film, after all.) McHugh has less luck finding employment. Davis, playing an out-of-work stenographer called "Alabama", uses a Southern accent throughout. (Why not?) Fairbanks invites Davis to share the apartment he's got with McHugh, and the three become one little happy family, cheering each other on and scraping around to put food in their stomachs.

Fairbanks and McHugh play off each other well as the two buddies. Miss Davis is young and blonde and sweet and pretty, and fits in nicely with the boys. Her great acting triumphs were still to come, but she's always a pleasure to watch (even in films she despised).

There are a few Pre-Code touches that stand out to the trained observer. Firstly, the sound of a toilet flushing (before Hollywood was forced to ignore the very existence of toilets). There are also a couple of rather amusing (if homophobic) scenes where Fairbanks and McHugh joke around in "sissy" voices. And when a car passes by when Frank McHugh is thumbing for a ride, he gives the driver an entirely different hand gesture.

As far as 70-minute Pre-Code films go, PARACHUTE JUMPER is rather enjoyable. The story isn't very deep, but it's not exactly something you've seen before. Fairbanks, McHugh, and Davis seem to have a good time. There's biplanes and booze, gangsters and guns, good girls and shady dames, romance and wisecracks, and even some parachute jumping. The movie's got just about everything, and it's all rather fast-paced and light-hearted. A good time.

This pre-Code film is as all over the map as Bette Davis's awful attempt at a southern accent. It has elements of comedy, romance, aerial stunt work, and the cynical disillusionment that sprung from the Depression. While far from perfect in any of those areas, there's a certain appeal to the grab bag Alfred E. Green packed in to 72 minutes, and I have to say, it never got boring.

If you hadn't seen the release date and were wondering if the film was pre-Code or not, that's put to rest in the very first shot, an extended close-up of a "Nicaraguan" woman's butt swinging back and forth to tropical music. Despite Davis's character remaining "respectable" after she begins living with her male friends (Douglas Fairbanks Jr. And Frank McHugh), there are some other fun little pre-Code bits sprinkled in, including some random things like a toilet flush and a middle finger being extended. My favorite was a rich lady (Claire Dodd) having her new chauffeur (Fairbanks) turn around once more so that she can unabashedly ogle him up and down.

The other high point for me was the way disillusionment over the time period crept in to the script, but never kept the film from playing as light entertainment. The young couple steal a wrapped-up fish from an alley cat, and condiments from a diner. She resorts to flirting to get a job, likening what she said as no more meaningful than promises politicians make. Behind the closed door of the office of the Society for Enforcement of Prohibition, we find a guy drinking. Lastly, we get this exchange between Fairbanks and a prospective employer, morals going out the window out of necessity:

"Do you care what you do?" "If I get paid, I work." "Do you object to cracking, or I should say, denting the law a little here and there?" "What law?" "The one we all laugh at."

Unfortunately, for all of these little bits and some interesting biplane stunts, the film as a whole doesn't come together. Perhaps the biggest issue was that Davis's character wasn't given a lot of sizzle to her personality, and the romance with Fairbanks felt a little tacked on. It's also one of the worst performances I think I've seen from her, and I love her older films, like Three on a Match (1932) and Ex-Lady (1933). Aside from the accent, she seems unsteady, and at one point even flubs a line, saying "typewriter massages" instead of "typewriter messages." Meanwhile, the plot meanders randomly, and not enough is made out of the entanglement with organized crime to be completely satisfying. An interesting curio though.

Love Bette Davis, and 'Parachute Jumper' is another film where she was my main reason for seeing it in the first place with no prior knowledge of it before. My recommended for you section and wanting to see all of her films and performances (up to this point had seen most but not all) are to thank for that. Liked the idea of the story and was interested too in seeing how Davis and the always watchable Douglas Fairbanks Jr would fare working together.

They fare very well together indeed, and 'Parachute Jumper' is a very enjoyable and well done film. It's an early Davis film and role and although she did go on to better things this is a long way from being a waste of her massive amount of talent. Fairbanks is similarly well served, if not at his best. 'Parachute Jumper' may have been made quickly and not on the highest of budgets, but manages to have more enjoyment and entertainment value than some expensively made productions, old and now.

Sure 'Parachute Jumper' is not perfect. The story can be messy at times and tries to do too much, shifting uneasily between them quickly which gave a jumpy feel.

Wouldn't have said no to Davis having more to do. Occasionally the camera lacks finesse but that is more forgivable.

However, 'Parachute Jumper' really doesn't look too bad for a quickie, some have looked much worse. Some nice shots here that clearly had a ball capturing the stunts and airwork. No wonder as the stunts and airwork are never less than astounding and the best of them jaw dropping. Alfred Green does a very nice job directing, keeping things moving and allowing the cast to have fun, which they do.

'Parachute Jumper's' script is one of its major assets, its sparkling wit is just infectious and some of it is surprisingly daring, being made before the code was enforced (likewise with censorship), meaning more flexibility and risks. The film moves at a fast clip, and well as the great chemistry of the cast it's its boldly honest look at the Depression, no sugar-coating here, and the pre-code material. Fairbanks and Davis are immensely charming and look as if they were having fun, Davis also is at her most adorable. Fairbanks and an amusing Frank McHugh work well too.

All in all, very enjoyable. 7/10

Parachute Jumper is a prime example of the energetic, quick-witted fare Warner Brothers was known for in the early 30's. This film showcases all three players: Douglas Fairbanks, Jr., a blonde, southern-accented Bette Davis, and Frank McHugh, but it really spotlights Fairbanks's suave and humorous side. Struggling through the depression in New York City is softened by the three characters' warm and jovial relationship with each other. They handle almost any situation with their one-liners and loyalty. Plenty of double entendres are targeted at love and authority. Fairbanks, Jr. especially handles his role with breezy panache. He deserved more material like this. I'll be watching this lighthearted film with intelligent dialogue and human characters again.

This pre-code movie stars Douglas Fairbanks Jr. and Bette Davis as two victims of the Depression. It starts out with Bill (Fairbanks) and Toodles (Frank McHugh) being thrown out of the military for gallivanting with women when they should have been reporting back to a base. It is the wrong time to be discharged though; it is very hard to find work even as ex-pilots. Bill meets up with a beautiful stenographer named Patricia (Bette Davis) and the group teams up to find work and take care of each other. Slowly, they get involved in seedier and seedier jobs as their stomachs rumble and find themselves entangled in a dope ring.

A clip from this film was used in Whatever Happened to Baby Jane? to show off "Jane's" bad acting, but Davis does well in this movie. She's great at delivering snappy lines and proving that you don't have to be dumb to be beautiful. Fairbanks is the same way, nice to look at but good to listen to as well. McHugh adds flair to the film with his distinct personality which makes him perfect for the best friend part.

This film is fast paced and enjoyable, perfect for a slow day.