Raia Miúda

I had high expectations with both Tracy and Harlow in it, but there's just way too much yelling at each other. Jean Harlow comes off better, but Tracy is not a very likable guy through most of the movie.

RIFFRAFF (MGM, 1935), directed by J. Walter Ruben, stars Jean Harlow, as Hattie who lives by the waterfront with her married sister, Lil (Una Merkel), her husband (William Newell) and their kids, Jimmy and Rose (Mickey Rooney and Juanita Quigley). She works as a tuna-cannery worker for Nick Lewis (Joseph Calleia), but her real interest is Dutch Muller (Spencer Tracy), a loudmouthed, conceited fisherman. Although she pretends to hate him, she keeps his picture in her room and follows him about. During a festivity, she proves herself lucky for him at the gambling tables, causing him to dump his beauties and change his interest towards her. Eventually they wed, becoming the typical married couple, constantly yelling and screaming at one another, usually saying things for which they mean the opposite. After Dutch rises from fisherman to union leader, he becomes responsible for a strike that causes many men, he included, to be out of work for a length of time. Being more concerned about his pride than his wife and those who look up to him, Dutch deserts. When Hattie learns of Dutch being sick and living amongst homeless bums, she steals some money from Nick to give to Dutch. Because of this, she's arrested. While serving time in prison, Dutch takes time to think things over, unaware that Hattie is not only serving time for his sake, but has given birth to his child.

Although both Jean Harlow and Spencer Tracy have appeared in better screen material during their careers, RIFFRAFF ranks one of the most televised of their films, particularly during the golden age of local television late shows of the 1960s and '70s. It has even been a viewer's request at one time or another on Turner Classic Movies. Yet, it's not as well known as Harlow's DINNER AT EIGHT (1933), or Tracy's CAPTAINS COURAGEOUS (1937), to name a few. Not that RIFFRAFF is a good or a bad film, but actually a total departure for both its stars. Yes, Harlow has played tough gals before, and handled her men with kid gloves, but due to the production code that went into affect in 1934, she still played it tough but a little more tamed.

On the comedic side, Dutch and Hattie start arguing right off after exchanging their vows, and politely smile and act as nothing's wrong in front of their wedding guests. Then there's the accented Joseph Calleia, whose double-talk along with another accented character actor, George Givot, add to the lighter moments, as well as Calleia delivering such a line following a big rumble, "I'm Okay, but I don't feel so good." A current hit tune, "You Are My Lucky Star," first introduced in Broadway MELODY OF 1936 (MGM, 1935), is plugged here, sung by a quartet during the party scene.

The supporting cast includes Vince Barnett as Flytrap; Paul Hurst as Belcher; Roger Imhoff as Hattie and Lil's drunken father, Pop; Lillian Harmer, Helene Costello, among others. In a notable performance is J. Farrell MacDonald as Brains, the more logical character in the story who plays his role as a soft-hearted union man with strong human quality. There is a scene in which the peaceful Brains tries to talk some sense into Dutch, and gets his face slapped for his trouble.

The central focus here is Spencer Tracy, a new resident to MGM, making his fourth appearance for the studio. Up to this point, MGM wasn't sure how to use Tracy. His Dutch Muller character is so unsympathetic, so conceited, and as the title indicates, a "Riffraff." Yet, it's a wonder how Tracy succeeded in getting the audience sympathy. Aside from all the yelling and screaming to either add tension to the drama or lighter moments in comedy, RIFFRAFF also includes many extras, many crowd scenes to go around.

The acting is satisfactory, although Harlow, criticized as being a very bad actress at the time, was improving with each passing film. Her most notable weak spot in RIFFRAFF is the scene in prison where she must surrender her infant baby to her sister Lil. It might have worked had Harlow been given a little more direction in doing this scene with more conviction. She does, however, work well with Tracy, making his second of three movies opposite her.

Although set on the waterfront locale, Harlow is the only female character in the story with a more glamorized look. Character actress Una Merkel, as her sister, Lil, plays her role with more believability and conviction, wearing second hand clothes, hair unsoiled and minus facial makeup. But viewers and MGM couldn't accept or present Harlow on screen looking like a second-rate character, even in poor man's settings.

RIFFRAFF, which was available on video cassette in the 1990s, is a worthy look at an early film with future stars on the rise, particularly both Tracy and Mickey Rooney, who would appear together in BOYS TOWN (1938) and its sequel, MEN OF BOYS TOWN (1941), as well as Jean Harlow at the prime of her movie career before death took a toll in 1937 at the age of 26. (***)

"Riffraff" stars Spencer Tracy in an odd role for him and the lovely Jean Harlow as his wife in a story involving the tuna fishermen set, unions, prison, hobos and the like.

It's a true potboiler with Harriet (Harlow) sacrificing everything for her man, an egotistical, bombastic fellow named Rudolph Muller. He's determined to make good but his stubbornness and big mouth get in the way.

Tracy is ill-suited for this role, though at the time, he was mainly playing character roles, and this certainly is one. But the actor comes off as too smart to be playing such a dumb lug.

A year later, his stock at MGM would begin to rise, and he would transition out of this type of role into leading man parts as Bogart did. Tracy is much better in the second part of the film, where he's called upon to show his emotive range, than in the first part where his character is established.

Though Harlow plays a cannery worker turned wife, she still gets to be glamorous in a couple of scenes where the big boss, Nick (Joseph Calleia) takes her out.

Harlow comes off tough and streetwise enough to be right for the role, and she does it well. Actually, she seems more comfortable than Tracy.

MGM at that point was trying to expand the range of this incredibly popular actress. The film was made in 1935, and of course, by 1937 she would be dead, but not before doing another -- and far superior - film with Tracy, "Libeled Lady."

All in all, there's nothing special about "Riffraff" except the two stars, but Tracy and Harlow were always special, so it's worth a look.

I enjoyed this 1935 movie. I like Jean Harlow and she gives a splendid realistic portrayal of a girl in love with a man who seems to ignore her. She looks wonderful in this movie. The story is rather far fetched about a tuna fisherman who wants better conditions and better pay for himself and his fellow workers but is rather immature and bull headed about everything and everyone. He is always getting in arguments or fights at the drop of a hat. Una Merkel as the sister is fine and the young Mickey Rooney is also in this movie. It is a pleasant story, if rather dated and old fashioned, but I did enjoy it and recommend it, and especially for us Jean Harlow fans, of whom, there are many.

...but I guess the title "Riffraff" would do as well as anything else MGM could have come up with - but it's not very descriptive. Hattie (Jean Harlow) is a cannery worker in love with Dutch (Spencer Tracy), a very good fisherman and also a tremendous blow-hard. He fancies himself the leader of some future workers' revolution. Hattie lives with her extended family including sister Lil (Una Merkel) and Lil's husband and two kids, with the son being played by a mischievous Mickey Rooney. Dutch doesn't treat Hattie very well - they spend most of their time arguing, and to complicate matters she has caught the eye of wharf boss Nick (Joseph Calleia).

However, between arguments, Dutch and Hattie do manage to get married. Some have asked whatever Hattie saw in a selfish windbag like Dutch, but if a coherent 500 word essay was a prerequisite for love it would be the end of the human race, and I have seen odder pairings in real life that worked. They are married only a few months when Dutch decides he was meant for bigger and better things, and he tells Hattie he is leaving her - for awhile - to find his destiny. She understandably doesn't take this well, and he gets the last word in by saying that it's goodbye for keeps. Thus begins the long melodrama of these two apart as Dutch's plans don't exactly work out as he figured and an impulsive act by Hattie meant to aid Dutch in a time of trouble and that act's repercussions show Dutch how selfish he has been and how much she really means to him.

In spite of the melodrama, there really are no bad guys here. Even lecherous Nick is likable in his own way, and his conversations with his lawyer are particularly humorous. Thus this film is pure Depression-era entertainment in the MGM tradition. It has many of the familiar building blocks of 30's MGM dramas, but they are assembled in a rather quirky way such that this is nothing that will change the world, but it's still very interesting. The cast is outstanding with good performances by all. Especially notable is Una Merkel's performance as loyal sister Lil who manages to be simultaneously feisty and frumpy.