La donna di platino

I see that I'm in good company here on IMDb in first wondering why on earth I had never heard of Robert Williams before and then in regretting that his career was cut so short after hearing his story.

Williams proves himself to be a winning and engaging comedian in this very funny Frank Capra film about a reporter (Williams) who marries a society dame (Jean Harlow) only to realize that his true love is for the female co-worker (Loretta Young) who's been by his side the whole time. Never mind that Young is one hundred times more feminine and prettier than Harlow -- I just chalk it up to the theory that Harlow had a certain look that was very much in vogue in the 1930s and that made her extremely attractive to people.

I don't think Harlow is at all attractive, but I do see her appeal, and I didn't find her performance to be as bad in this film as the history books have claimed. It's true that the casting should have been reversed, and Young should have played the society belle with Harlow as the working-class girl next door. But never mind. She equips herself pretty well with the material given her, and she manages to be believable in the role.

But in any case, it's neither of the women you'll remember from this movie. It's Williams and his absolutely fantastic way with a funny line. He died of appendicitis at the age of 37, and it's clear that 30s movie audiences lost a potentially major star when they lost him.

Grade: A-

Robert Williams doesn't even get any billing n the DVD cover or on other promotions of this film, but he IS the star of the film....and he is outstanding.

Williams could have been a major star, a very well-known actor, had he not died four days after this picture was released with a ruptured appendix. The man simply puts on an acting clinic here. I wonder if young aspiring actors are ever shown this film and told to study Williams? If is wasn't for this film, I assume nobody would ever know about this guy.

Anyway, the movie is really dated but its interesting thanks to some great dialog, mainly, once again, by Williams. Jean Harlow gets the billing but a young Loretta Young has the real beauty and charm here. Too bad her role was so minor and bland. She looked absolutely gorgeous.

The storyline is one of Hollywood's favorite themes: the average Joe beating up on the snobby rich people. Harlow's "mother" in here (Louise Closser Hale) plays that snob role perfectly.

Even though I just gave it six stars, there are lots of laughs in this film and it was a lot better than I thought it would be. Watching Williams' acting performance is worth the price of the disc, and then some.

Robert Williams plays the kind of role Spencer Tracy did time and again at Fox and MGM--the brash, likeable working man--and, in fact, the picture suggests a dry run of Tracy's "Libeled Lady." There's a breach-of-promise suit, a roomful of reporters cracking wise, a rich-rich Long Island clan existing to be mocked, and the kind of farcical complications that made the newspaper comedy one of the '30s' most endearing genres. Unfortunately, the dialogue isn't as snappy as it thinks it is, and Jean Harlow is as miscast as a society dame as Loretta Young is as a world-weary reporter -- the whole thing might have made more sense if they switched roles. The compensations, though, are many: Capra giving his actors brilliant bits of business (the "puttering" scene is an unsung classic), a roster of swell character actors, and some pre-Production Code naughtiness, including two very sexy love scenes between Williams and Harlow. Capra's pace is slower than usual, and his later works had cleverer plot twists. His handling of actors, though, is as beautiful to behold as ever. And in Williams' irresistible performance, we have a glimpse of a star that might have been.

After watching Platinum Blonde, I, like most other viewers, had to look up Robert Williams, wondering whatever happened to him while fearing the worst, the worst being true: he died shortly after he made this film. Tragic! One can wonder endlessly over what might have been. What is clear is that he was a natural for the camera, was highly skilled (years of stage experience behind him), and fit perfectly into the Capra-Riskind universe of tough-but- articulate Everyman up against monied mediocrities. He might well have ended up playing the Clark Gable role in It Happened One Night if he had been around at the time. In fact, the reporter he plays here seems like a first draft for that character. (The plot involves Williams as a reporter falling in love impulsively with the daughter of a wealthy Social Register family only to encounter the usual boobytraps built into such a union.)

The movie itself, though hard to separate from Williams's domination of it, stands up fairly well on its own. There are some imaginative camera movements and setups and intelligent, witty dialogue laced with fizzy Depression-era argot. The story is not very convincing but you suspend disbelief because of the way the actors, dialogue and cinematography bring it to life. The pace is leisurely, sometimes a bit too much so, with many minutes taken up in gentle, playful, ultra-naturalistic banter between Williams and his co-stars. I can't think of another film from that period that detoured so often into that type of throwaway conversational interlude.

Jean Harlow as the heiress and Loretta Young as a newspaper columnist are not ideally cast. Their roles should have been reversed, but it doesn't really matter because both actresses do well. Harlow, who by this time had had relatively little experience in front of a camera, seems right at home about 90% of the time. And it's hard to believe that Loretta Young was only 18 when she made this! But she had already been a veteran of several years standing as a film actress.

Platinum Blonde launched so many careers - the most infamous being Frank Capra and Jean Harlow. It is not a perfect film by any stretch of the imagination. The sound is bad, Harlow is terribly miscast, and poor Loretta Young struggles valiantly to bring depth to a part that is the filmic equivalent of wallpaper. As many have said before me, she and Harlow would have done well to reverse roles.

But the greatest on screen portrayal of fresh, modern, naturalistic acting (a style that later would be attributed to James Dean) is from the wonderful, refreshingly brilliant young Robert Williams in 1931!!!!! I would never mark this film as a masterpiece, yet I would encourage all struggling male actors to study this man's work as a prime example of how to dominate a scene without any artifice or aggression. Every time he enters a room, the whole film lights up, and every time he leaves, all the other actors seem to lose their purpose and energy.

I have never seen such simple perfection, and I am saddened to no end to learn of his untimely death at thirty-four, just as he was starting to get roles worthy of his genius. I could not get enough of this man's work, and regret having so little of it to view. An absolute must see for Robert Williams alone!