Boca para Beijar

If the themes of The Girl From Missouri sound familiar it should. That's because Anita Loos who wrote the screenplay here also wrote the classic Gentlemen Prefer Blondes. Unlike Marilyn Monroe in that film, Jean Harlow will accept any kind of jewelry from men of means.

And it's men of means that Jean Harlow is after. She leaves the road side hash house run by her mother and stepfather because she's decided that the best way to gain the easy life is to marry it. Her talents as a chorus girl are limited, but she'll be able to trade in on that beauty.

Her odyssey starts with her and friend Patsy Kelly getting an invitation to perform at a party thrown by millionaire Lewis Stone. But unbeknownst to Jean, Stone's just having a wild last fling before doing himself because of the moneys he owes not owns. Still she wrangles a few baubles from him that fellow millionaire Lionel Barrymore notices.

Lionel's amused by it until Jean sets her sights on his playboy son, Franchot Tone. After that he is not amused and he looks to shake Jean from climbing the family tree.

The Girl From Missouri went into production mid adaption of The Code so it went under peculiar censorship. I've a feeling we would have seen a much more risqué film. Still Jean Harlow as a younger and sassier version of Mae West is always appreciated. What a great comic talent that woman had, seeing The Girl From Missouri is a sad reminder of the great loss the world of film sustained with her passing three years later.

Ironically enough the casting of Patsy Kelly with Harlow was no doubt influenced by the successful shorts Kelly was making with another famous platinum blonde, Thelma Todd. Harlow and Kelly have the same easy chemistry between that Patsy had with Thelma. Todd would also die a year later in a freak accident/suicide/homicide that no satisfactory explanation has ever really been given.

Don't miss The Girl From Missouri, it's bright and sassy, must be from all that sparkling jewelry.

Jean Harlow is "The Girl from Missouri" in this 1934 film that ran afoul of the production code and had to be cleaned up. Gone is the tough, sexy gal who's been around the block too many times to count. Now she's cheap-looking but wants the ring on her finger before anything else.

Jean Harlow is Eadie, and she's a delight in this film, which also stars Franchot Tone as the object of her affections, Lionel Barrymore as his father, and Patsy Kelly as her good friend. Eadie sets her sights on an old man, Cousins (Lewis Stone) at a party he throws; he's broke and has just asked T.R. Paige (Barrymore) for a loan. He doesn't get it. Eadie enters, and Cousins gives her his ruby cuff links, which she won't take because they're not engaged. Cousins, knowing he's about to blow his brains out, agrees to marry her, so she takes the cuff links. Before she knows it, he's dead, and she's slipped the cuff links to Paige so she won't be accused of stealing them.

Eadie then sets her sights on Paige and follows him to Palm Beach, where she meets a young man (Franchot Tone) who turns out to be T.R. Paige Jr. She's wildly attracted to him, but he's a playboy. Will he fall for her? Can it work? Good movie. Tone is smooth and elegant. I've never cared for Patsy Kelly; she always seems to be shouting, and she's very stagy. Barrymore is good as always.

So the pure Jean, still with the platinum blonde hair, makes her debut in this film governed by the Hays Code. A shame her career wasn't longer. She had a wonderful screen presence.

During the early 1930s, pretty much anything went when it came to films--nudity, cursing, adultery and graphic violence. However, these sort of films did not set well with many Americans or special interest groups, such as the Catholic Legion of Decency and attendance began to drop--leading the leaders of the various studios to scramble to bring back viewers. Ultimately, this led to the creation of the new Productiton Code of 1934. Gone were all the excesses of the past years and in its place was a very sanitized world--where husbands and wives didn't even sleep in the same bed! This was a problem for some actresses. Jean Harlow, Kay Francis and Ann Harding (among others) specialized in sexy movies where women who were tramps--and REALLY enjoyed it. Now, with the Code, plots were drastically changed and some of these actresses faded (after all, who today remembers Ann Harding?) while others adapted to new roles. In the case of the previously steamy Harlow, this meant her playing a girl who LOOKED cheap but who was pure deep. Even this image caused problems with the censors and a Harlow film was usually given extra scrutiny by the board because of her reputation in films.

Because of this background, making "The Girl From Missouri" was tough and it required many rewrites and cuts. And, as a result, it resulted in a very strange sort of morality. In this film, Harlow looks and sometimes acts cheap--but she ain't. Down deep she has VERY strong morals. She will NOT sleep with a man before marriage BUT in a nod to the old Harlow, she still insists that she must marry a rich man--love him or not! So, she's a gold-digger with a heart of gold! As a result of these changes, the films were still fun--but if you thought about the plots, they really made no sense at all.

"The Girl From Missouri" is well worth seeing though it's not as vulgarly wonderful as her earlier films (like "Red Dust", "Red-Headed Woman" and "Dinner at Eight"). It does have some lovely supporting actors--in particular Lionel Barrymore and Patsy Kelly. And, the film is quite fun from start to finish.

By the way, I mentioned Kelly in this film because I usually hated her films. However, here she was less brash and loud--and was a positive element in the movie. Here, she really proves she could act and behaves like a hilarious man-crazy dame (but without all the yelling). In reality she was apparently a lesbian and I assume that due to the rigidity of the new Code the studio deliberately gave the normally sexually ambiguous Kelly a VERY heterosexual role--as it was VERY atypical of her earlier roles. So, thanks to the Code, some folks went even deeper into the closet--as gay characters were pretty common up until 1934.

In this film, made JUST as the production code was being enforced, Jean Harlow is Eadie, and Patsy Kelly is the wisecracking, man-chasing sidekick "Kitty". Girl from Missouri starts out with the girls getting on a train, with Eadie making a promise to herself to earn money while looking for a millionaire husband, staying whole-some in the process. It doesn't take her long to meet up with Frank Cousins, (Lewis Stone, was the kindly Doctor in Grand Hotel, as well as Judge Hardy in the "Andy Hardy" films.), but all is not as it seems...The censors must have LOVED Harlow's line "A girl couldn't accept an expensive gift like that from a gentleman unless she was engaged." Later, someone says "You know we've never been alone together" and Eadie replies "Yeah, and we're not going to be!" Lionel Barrymore is T.R. Paige, another rich, uppercrust who comes to her rescue when trouble comes looking for Eadie. At one point, Paige declares "You oughta scratch me off your list - I'm not a ladies man".... I wonder what that line would have been just a couple years earlier before the Hayes code came rolling into town. What was he really saying? Carol Tevis seems to be the high-pitched "Baby Talker" as listed in the credits on IMDb. Looks like she was only in showbiz from 1931 - 1939, with "Munchkin" in Wizard of Oz being the last part she played. Fun, cleancut romp as the girls chase men around the country. Look for Nat Pendleton as the lifeguard, who was an Olympic Wrestler 1920 (silver medal winner) turned film star (he was in many of the Dr. Kildares, and would appear in four of Harlow's films.) Mistaken identity, plot twists, a young Franchot Tone, love stories, even Jean Harlow in a bathing suit in "Palm Beach", although the outdoor scenes of downtown appear to be a backdrop.

I feel that if this film was released during the Pre-Code era, it would have been less sanitized and longer. It wasn't the whole sanitized aspect that bothered me, it was more... something was missing from this one. It wasn't good, it wasn't bad, it was merely okay. It was also too short. The story seemed rushed.

I believe that this was Jean Harlow's first film made under the production code. She seems flat and listless (still appealing, but not as much as usual).

Franchot Tone basically plays the same character he was typecast as always playing- a dapper, suave character in a tuxedo. Kind of like a higher-up-on-the-scale Robert Montgomery. He is always a welcome presence, but as usual he isn't given much to do. One can only imagine what he might have become had he not be typecast as the second banana in a tux.

The rest of the cast was okay. Ths story was fairly weak, but the ending was kind of funny. Was this supposed to be a comedy?