Hot Saturday

Hot Saturday (1932)

There are a few early Cary Grant movies where he has a small role, or where he isn't quite the "Cary Grant" we have come to expect (and which he always jokingly said he wanted to become himself). But this one is pure, true Grant, and very early, indeed. But even better, the plot, the mise-en-scene (including town scenes, domestic situations, and a range of outdoor stuff at the lake including a bohemian roadhouse on the water), and the photography are amazing. I mean amazing. There are a few stumbles in the acting, but you get so swept along, and so continually surprised, this won't matter much at all.

The director of all this gets a huge amount of credit, because William Seiter who pulls the best out of the cast and the crew, equally--and who presumably helped choose some terrific location shots as well as matching studio scenes. Seiter was a Hollywood working man director, doing lesser A-list films and making them decent, though none that I've seen (a small fraction of a huge output from the 20s to the 40s) has the energy and flair of this one. And this is an unsung one, definitely worth seeking out.

Likewise, Arthur Todd behind the camera did a dumpload of good if unamazing films, and so it was with the music and set design. But the leading lady is another story. Nancy Carroll really steals the show, even from Grant and the other leading male, the rather wooden and handsome Randolph Scott. She has a kind of live-wire, doll-face quality a little similar to Claudette Colbert, easily as amazing in this film. Carroll supposedly had more fan mail than any actress in this era of Hollywood, and was contracted with Paramount (which was the studio here). But she was so difficult to work with offscreen (rejecting many parts) they let her go, and her career slid, and she probably missed out on another higher kind of stardom.

But here she is alive, sympathetic, and complex on screen. If Cary Grant isn't enough to lure you in, give Carroll her due.

This is of course a pre-code film (widely advertised as such) and in fact the looseness of the events, the morality of the lead, and the suggestive scenes (never explicit) all help make this come alive. The dance and party scenes are so much fun you'll wish you were there, and the cave in the storm as well as the night scenes in the woods are pretty amazing, too. The end will prove, again, both the ability of pre-code films to touch on real life issues, and the need of even these kinds of films to have a moral compass by the end. The very last few seconds takes care of this.

Great stuff. A huge surprise for me.

Aside from the silly and gratuitous underwear scene, this movie does a good job of telling the story of poor Ruth Brock, a hard-working, put-upon small town girl who is judged and persecuted by her neighbors and so-called friends following a day of fun on an eponymous 'Hot Saturday' in the summer of 1932.

Subsequent events show how much women had staked on maintaining their reputations at that time, a topic that didn't go away with the enforcement of the production code though it lost a lot of its nuance. The expression on Ruth's face in the last frame of this film is so uncertain...she doesn't know if she's doing the right thing, doesn't know quite what she's getting into. I grieve for the loss of that ambiguity in films made in the years to come.

Nancy Carroll is brilliant in the role of Ruth, sparing the audience tedious hysterics and instead portraying the bitterness and frustration of living in a town of petty fools with nothing better to do than tear each other apart. I sort of wish there were two versions of this movie, one starring Carroll and one starring Barbara Stanwyck so I could do a side-by-side comparison. Stanwyck did such a good job with offended righteousness in 'Night Nurse'. But I'd keep Cary Grant in both...young and perfectly cast in the role of the local "disreputable cad" (that's how he's described (aptly) on the label).

But even a disreputable cad can have good points...and keen-eyed, truthful, pre-production code Ruth won't fail to notice them...

Hot Saturday is neat little pre-code drama with one of Cary Grant's earliest starring roles. Grant is top-billed but the center of the film is actually Nancy Carroll, an enormously popular young actress in the first years of the talkies, 1929-1931 but apparently already starting to slip in 1932 being second-billed to a newcomer.

Carroll is a pretty bank clerk whom all the local boys are crazy about, including scandalous young heir Cary Grant as Romer Sheffield (aren't all Sheffields in old movies wealthy?), who brings out of town girls in to stay at his estate for weeks at a time. When Cary invites the local young people to his home on the lake for a party, they all happily agree even though he is quite infamous among the older folks. Carroll is escorted by local boy Edward Woods. who turns into quite a leech on private boat ride and when Nancy won't come across, abandons her on the other side of the lake. Nancy ends up walking some distance and the nearest home just so happens to be Cary's estate. When she is seen by her trampy rival Lilan Bond coming home in Grant's car, the jealous bitch starts a rumor that spreads like wildfire that Nancy spent the night alone with Cary, a rumor that causes Nancy to lose her job and threatens her long, chaste romance with Randolph Scott.

This little melodrama has an excellent cast (except for Bond, whose line readings are flat) that makes the slim story interesting. Nancy Carroll is cute and does very well with her role, making her part sympathetic at all times but she is saddled with a terrible hairstyle and has on way too much makeup. Cary Grant is excellent as the free-loving hedonist to whom marriage is a no-no but he is surprisingly topped in sex appeal by his friend Randolph Scott as the decent and shy semi-beau of Carroll's. Edward Woods is very effective as the All American pal who turns out to be a major creep and there's a very good performance from Jane Darwell as Nancy's bossy and prudish mother. Hot Saturday is not a classic but it definitely deserves a look if you enjoy pre-codes.

Nancy Carroll shines as an innocent woman nearly destroyed by >gossip in this very unflattering portrait of small town America. >Now forgotten, Carroll brings sensitivity, depth, and humor to >her performance. An inexperienced but effective Cary Grant is a >man with charm and without conventional morals. The ending is a >surprise.

Ruth (Nancy Carroll) is a bank clerk in a small town where the only diversion for young adults is a dance hall named Willow Springs outside of town. Ruth is pursued by a number of young men, including a wealthy playboy, Romer Sheffield (Cary Grant). She is very successful at keeping them all at arm's length, though she occasionally enjoys tempting them.

After Ruth returns home later than usual, the town's rumor mill--spurred by rival Eva--has a heyday. With her reputation ruined, Ruth makes some choices that are life-altering.

The music that accompanies the opening credits might lead the viewer to expect a madcap comedy. It is nothing of the sort. It is a scathing depiction of small-town society. However, the ending--which is, if nothing else, confusing--suggests that the film is (also) a cautionary tale. Whichever way you interpret it, this film is very interesting.

The acting is good. Nancy Carroll shines. Cary Grant and Randolph Scott are strong in their roles.