Adorada Inimiga

The Depression was hard times folks and people made due the best they could economically. Goes for landlords and tenants in Rafter Romance.

Landlord George Sidney decides to help Ginger Rogers out and double his income besides. He's got a tenant in Norman Foster who works as a night watchman where he also gets to do his painting at his real vocation as artist. Rogers is having a bad time financially so Sidney gets the bright idea to rent her the attic apartment that Foster lives in and sleeps days. She'll take it for twelve hours also.

Of course this being the thirties proprieties must be observed and Sidney and his whole family will make sure they're observed. No contact of any kind between the two tenants.

But this is Hollywood and I think you can figure out the rest.

Besides those mentioned look for good performances by Robert Benchley as Ginger's wolfish boss at what would now be called a tele-marketing agency. And also from Laura Hope Crews who plays a drunken society woman who would very much like to keep artist Foster as a private boy toy.

Times have certainly changed. Quite frankly as long as I don't wreck the place, do no illegal activity, and pay my rent on time, my landlord could not care less who I might have as company at a given moment. I'm not sure today's audience would really get what was happening here in Rafter Romance.

The laughs though are still in place and ready to be enjoyed.

This is a cute romantic comedy from the 30's. An enterprising landlord arranges to rent the same top-floor apartment to a man who has a night job and a woman (played by a young Ginger Rogers) who has a day job. He lives/sleeps there during the day; she does during the night. The two protagonists don't actually know each other, except through the increasingly hostile notes that they leave to each other about the upkeep of the apartment. (It starts off with mild stuff like "Clean up the sink after you shave", and gets increasingly angry from thereon.) Eventually the two become bitter enemies, even though they have never met in person-- or so they think. As one might predict, it just so happens that the two meet and fall in love in the course of their lives outside the apartment-- and they don't realize that they are actually in love with their despised 'roommate' until the very end.

Though hardly classic cinema, this is certainly a cute and entertaining comic romance. Also, it has a couple of curious bits of cultural history built into it. The first is that Ginger Roger's character is a telemarketer-- and this is, to my knowledge, the first representation of that very modern profession in the cinema. The second is that there's a very strange reference to Nazism in the film. At one point, the landlord's somewhat dim-witted son draws a swastika on one of the doors as he's heard it means 'good luck'. The landlord (who, like is son, is clearly meant to be Jewish) is of course, furious. The odd thing is that this little incident was obviously intended to be funny (though I think most contemporary viewers will find it jarring or troubling). I think that just shows that this movie was made at during the narrow period of time when Nazism's anti-semitism was known in the U.S., but could still serve as a foil for laughter; it had not yet been recognized as the truly terrible force that it really was. As such, that makes this movie a curious historical artifact as well.

Fun find! Two hip young people trying to make a go in NYC in 1933. After not paying their rents for 3 months the landlord moves them into the same attic apartment as their schedules are opposite. It's a great peek at urban life in 1933 with drunken work picnics, a lecherous boss, a high society cougar, a telemarketing office and two witty and sassily dressed 20 somethings trying to make it in the big apple. And it's shot in and around the city. As other reviewers have mentioned - the landlord is stereotypical Jew and there's a stereotypical Italian selling flowers on the street. Not so nice. But this is pretty typical in Hollywood, even now isn't it? The landlord is actually a very likable fellow. He's not one dimensional and you laugh at the crazy antics and his great acting - NOT because of anything "Jewish". And as mentioned - there's another really interesting moment when the landlord's teenage son is writing swastikas on the chalkboard near the phone. He gets a smack on the head for it and he exclaims "But it's good luck!" It is not "making a joke of Nazism" but is in fact pointing out the interesting dilemma for that time. Previous to the Nazis adopting the symbol it DID denote good luck and it was (and still is) a positive icon for many races and religions. This movie foreshadows the evilness the symbol would become, especially to Jewish families. And for an American film to be blatantly anti-Nazi so early means smart writer/director. I'm really glad I got to see this film after its 50 years of purgatory.

This has the same leading cast as "Professional Sweetheart", even the same director. It was lost for years because it was in legal rights limbo when Turner Classic Movies got the rights to it and five other films, but I digress.

The setup is simple but purely precode. A man (Norman Foster) and a woman (Ginger Rogers) -Jack and Mary - are forced by their landlord to move into the same attic together, with Mary having the premises at night and Jack having them during the day. Each has to be out of the attic 15 minutes before the other arrives "home" so that they never meet. The reason for this was that they were both behind on their rent with no real chance of catching up. Thus the landlord can rent their old rooms out to people who can pay the rent plus he gets rent for what has now been an unused part of the house - the attic - and Jack and Mary are not homeless. A win win.

Now the two have never met, but tensions rise immediately when Mary overhears Jack calling her a "skinny old maid". They play pranks on each other that escalate to the point we are in Looney Tunes territory. Meanwhile Jack and Mary have actually met on the street, and have begun to fall in love. What will happen when they each find out who the other is? Watch and find out.

As in many precode films, nothing really indecent goes on, yet this film would not have been allowed to be produced just a year later. The most extreme thing you see is Ginger Rogers in various stages of undress, and Jack seems to be in some kind of "boy toy" situation with Laura Hope Crews' character, Elise. He is an artist working as a night watchman and she is a rich woman who seems to want to "keep" him, although he is not willing to let it go that far.

This is Peter Benchley's biggest role so far in a film. Here he plays Mary's lecherous boss who is making the moves on Mary and at least one other girl in his employ. Not exactly the role I am accustomed to seeing Benchley in, and yet he still plays it with his signature dry wit.

The most shocking thing to audiences today, probably? The landlords, the Eckbaums, are Jewish, and they have a son that they tell to stand in the hall and wait for one of the tenants to get home, there is a message for this person. Well like so many teens he gets bored and starts doodling on the wall. What does he doodle? Swastikas! How odd.

RAFTER ROMANCE is a delightful little comedy rescued from the legalities that kept it out of circulation for over 40 years by Turner Classic Movies (thanks folks!) starring a pre-stardom Ginger Rogers and Norman Foster. Looks to me like a ton of people may saw this little gem anyway because it has a number of bits that seem to have influenced later pictures such as a running gag about the climb up stairs in a New York apartment (used most famously in BAREFOOT IN THE PARK) and it's main theme - a couple are in love but hate their unseen roommates, completely unaware that it's each other, which was used in reverse (coworkers hate each other but fall in love with their unseen pen pals who happen to be that hated foe) in THE SHOP AROUND THE CORNER and it's remake YOU'VE GOT MAIL.

This movie has many charming moments and proved Ginger with one of her first showcases for her sparkling comedy talent although the lovely star is not always photographed flatteringly. Norman Foster has for decades been best known to movie buffs as Claudette Colbert's first husband rather than for his actual film work, thanks to TCM we can now see his fairly prolific career as a leading man in the pre-code era, often cast as a weak heel or (as here) a middle-class answer to Robert Montgomery. Both stars give terrific performances and there's lovely "falling in love" moments in a canoe at the company picnic that are quite romantic. (I agree with another reviewer that the trash laden picnic tables left by Ginger' coworkers is a rather startling glance at America in it's pre anti-litterbug days.)

In the supporting cast, Laura Hope Crews stands out as artist Foster's aging benefactress who wants a more intimate relationship with her protégé. Legendary humorist Robert Benchley is also around as Ginger's boss at the "ice box" company with no so secret designs on his Ginger himself.

As another viewer comments this is one of the first films with it's characters set in the world of telemarketing and it rings true some 70 years later with it's long-winded phone sales pitches, apparently hostile and blue responses (unheard on film but clearly received judging by the employees' faces) by the receiptents of these unsolicited calls, and one of the funniest bits in the film, albeit unintentional, has Benchley urging his employees to "put a smile in your voice", a phrase most definitely still in use today when training employees for work in this and similar phone-oriented fields.