Amor por Telefone

With Warners pre-code you win some and lose some but it's only takes an hour or so. The dark flat cinematography, the salty dialogue, the best actors in the world, Blondell in close-ups.

The cad played by O'Brien doesn't deserve her, but he risks his life, mobilizes his networks, beats the odds. Those there to see Blondell can appreciate that O'Brien loves her as much as we do and on the plus side that he is employed and possesses telephonic super-skills. It must be love as Blondell and O'Brien can both rap at Warners-level supersonic speeds. With Jenkins, Pallette, Farrell, et al, this is the murderers row of pre-code.

This one looks like it was originally planned as another inexpensive vehicle for Cagney, like THE PICTURE SNATCHER (in which he played a photographer) or TAXI!: ordinary Joe roles that the men in the audience could identify with, and when Jimmy snaps into action, they can imagine themselves doing it. After all, what's he got that I don't? But he again threatened to walk, so they tried O'Brien out in the role. He's an Irish sort of actor too. Maybe the audience won't notice.

Unfortunately, I noticed and it became something of a chore to make my way through this movie when the top-billed actor doesn't get much screen time. As often happens in lesser Warner Bs, it's the supporting players that kept me watching, particularly Eugene Palette. But you can skip this one.

Pat Obrien and Allen Jenkins are phone line workers, keeping the phone line working. Eugene Pallette was usually the (huge) sarcastic butler or father figure, overwhelmed by the events of the day. Here, he's the phone company boss, already sick of Terry and Johnny's antics. Joan Blondell and Glenda Farrell were both HUGE, hollywood stars of the 1930s. They are Marie and Bonnie, switchboard operators who meet up with the phone workers, but refuse to go out with them. Terry (Obrien) pretty much stalks Marie, which was probably cute and romantic back in the day, but would be considered harassment these days. so many double entendres and naughty jokes. it's okay. there's a stolen money caper, and Marie gets caught up in it, and must figure out who-dunnit. great work by Blondell, O'brien, and Farrell. Directed by Ray Enright, who had started in silents with the genius Mack Sennett. Story by William Rankin; he had worked on some biggies (harvey girls, only angels have wings) but still no oscars. I've got your Number is pretty good stuff.

.. like Joan's dependable sassiness and some funny bits from Allen Jenkins, but this isn't a DVD I'd put under anyone's Christmas tree. The plot, very briefly, revolves around Joan as a switchboard operator who is used (more than once) to help someone else commit a crime, and Pat O'Brien is a phone line repairman who (separately) becomes involved with her.

O'Brien's character is a sleaze, to say the least. We see early on that he treats women like samples in a meat market, but once he sets his sights on Joan, he goes all out, first insulting and bullying her into giving him a tumble, then eventually overturning her dining table so her dinner will be ruined and she'll then let him take her to a restaurant! (I kid not...) Joan gives as good as she gets, of course, but inexplicably, his boorish behavior wears her down and she falls in love with him. Okay, I realize this was made in the 1930s, but really!

As mentioned, I liked Allen Jenkins and his comic moments, one with a bogus palm reader (the great Louise Beavers), another when he's needed to listen in on dirty dealings by phone, and while there is mayhem going on he is there, fast asleep! His frequent delivery of the line, "Let's get outta here!!" in an exasperated voice is funny and doesn't get old.

Thumbs up to Eugene Pallette's performance, too. He sees O'Brien for the worm that he is and isn't shy about expressing it. I'd recommend it mainly for brassy Joan Blondell.

A harried switchboard operator & a ditzy medium get involved with a couple of brash telephone repairmen & a dangerous gang of thieves...

I'VE GOT YOUR NUMBER was the sort of ephemeral comic frippery which the Hollywood studios produced almost without effort during the 1930's. Well made & highly enjoyable, Depression audiences couldn't seem to get enough of these popular, funny photo dramas.

Joan Blondell & Glenda Farrell are perfectly cast as the fast -talking female leads. Although Joan gets both top billing and the romantic scenes, - and they share no screen time together in this early pairing - both gals are as talented & watchable as they are gorgeous.

Pat O'Brien, obnoxiously cocky & self assured, appears as Blondell's persistent suitor. Whether tapping wires or tackling crooks, he is equally jaunty. Behind him comes a small parade of character actors - Allen Jenkins, Eugene Pallette, Henry O'Neill, Hobart Cavanaugh, Louise Beavers - all equally adept at delighting an audience.

Much of the dialogue & plot development indicates this film made it just under the wire before the imposition of the Production Code.

While never stars of the first rank, Joan Blondell (1906-1979) & Glenda Farrell (1904-1971) enlivened scores of films at Warner Bros. throughout the 1930's, especially the eight in which they appeared together. Whether playing gold diggers or working girls, reporters or secretaries, these blonde & brassy ladies were very nearly always a match for whatever leading man was lucky enough to share equal billing alongside them. With a wisecrack or a glance, their characters showed they were ready to take on the world - and any man in it. Never as wickedly brazen as Paramount's Mae West, you always had the feeling that, tough as they were, Blondell & Farrell used their toughness to defend vulnerable hearts ready to break over the right guy. While many performances from seven decades ago can look campy or contrived today, these two lovely ladies are still spirited & sassy.