Triunfos de Mulher

"Night Nurse" released in 1931, in the depths of the Great Depression, was the kind of film Warner Brothers cranked out at that time. Barbara Stanwyck plays Lora Hart, a woman down on her luck who applies to become a nurse. She does so, with success. The initial part of the film takes us into the inner workings of a hospital -- circa 1931. Stanwyck is befriended by a fellow nurse, played by Joan Blondell, who provides much comic relief throughout the film. Stanwyck's first assignment is to take care of two sick children of a wealthy mother. Soon she begins to realize there is a sinister plot to starve the children so various people can profit from the children's trust fund. The children's mother is a serious alcoholic and seems to completely ignore her children, leaving them in the care of nurses and a housekeeper. A young Clark Gable has an eerie and threatening presence playing a chauffeur, who apparently is in league with the alcoholic mother and the children's sleazy doctor. Brought into the mix of all these characters is a charming bootlegger (prohibition was still the law of the land) played by Ben Lyon. He falls for Stanwyck after she patches him up from a bullet wound and doesn't report it as required. The film is clearly "pre-code" meaning the code was down in ink but largely ignored by studios until enforcement in 1934. There are some scenes of Blondell and Stanwyck dressing and undressing, and we see them in their undergarments several times! Liquor flows freely, despite prohibition and there are several scenes of various drunken party-goers. One drunken man tries to assault Stanwyck. There is some fairly graphic violence by 1931 movie standards. There is also some funny, snappy dialogue from Stanwyck and Blondell. My favorite line is when Stanwyck, after wrestling with the drunken, neglectful mother, looks down at her passed out on the floor and says "You mother..." I won't give away the ending, as it is a bit bizarre, but this is an entertaining film. See it just for Stanwyck. She gives a spirited and tough performance.

Anyone who thought exploitation movies were invented in the 1960s will know better after having watched Night Nurse. It's a strange mix of comedy, drama and mild sleaze. The story is pretty weak but for fans of Barbara Stanwyck this is an absolute must see. Her performance is very energetic (aggressively shoving her face very close to that of other people, punching big guys, hurtling bottles of champagne around etc.) and she really comes through as a sensuous – albeit tough as nails - nurse. For some time she must wear a tiny band aid on her chin which makes her even more attractive. Joan Blondell is also great as her gum chewing friend, setting the standard for vulgarity. The movie basically deals with the ethics of the medical profession which is treated with amazing cynicism.

The highlight for me was the conversation between the excited Stanwyck character and an older Pappy-type doctor. The nurse suspects foul play in a particular medical case and Pappy tries to calm her down with sensible arguments. The nurse quickly loses her patience and her temper, shouting. „Aw, ethics, ethics, ethics! I'm through with ethics!" It's really a well played scene which brings the character and temperament of the nurse to the fore and reflects the atmosphere of the whole movie. I also liked the unethical doctor with his facial twist and snazzy uniform which must have influenced people who created the wardrobe for Starship Enterprise. His big office has very elegant Art Deco trappings and is in stark contrast to the rather cramped conditions in the ethically operated hospital shown in this movie.

This tense 1931 melodrama stars a very young Barbara Stanwyck in the title role as Lora Hart assigned to take care of the two young daughters in a wealthy family. However, she uncovers a plot hatched by their alcoholic mother to kill the girls in order to steal their trust funds with the assistance of a nasty chauffeur and a corrupt doctor. Directed by William Wellman, the movie features several risqué moments with Stanwyck and pal Joan Blondell dressing and undressing in their uniforms, as well as moments of unexpected violence. Again, Clark Gable shows up in a sinister role as the chauffeur and slaps Stanwyck around with convincing malevolence. While I prefer her work in 1933's "Baby Face" on Volume One, no one shined more than Stanwyck in these pre-code films since her non-nonsense manner was a perfect fit for the era's candor and directness.

Gritty depression era flick, showing why Warner Bros. was the studio of record. It's tough broads here that get the leads. There's Stanwyck (before her teeth were fixed) and Blondell (gum-popping her way through the Nurse's Oath), both trying to survive grabby interns, unscrupulous doctors, murderous families, and no money. No, this isn't Young Doctor Kildare. Just compare Night Nurse with that sappy 1940's series for insight into what the Production Code did to social realism. Here nurses break the law, doctors violate their oath, and unless you go along, you don't work. Not exactly the professional AMA image. Sure, it's contrived melodrama. But there are elements of the real world here that would disappear from the screen for 35 years, courtesy the PC. Also included are gamey one-liners, mild strip scenes, and a really sardonic look at motherhood, along with a very scary Clark Gable. For a brief period from around 1930-34, Hollywood operated with the lid off, pressed by audiences with no work, no money and no prospects. Movies like NN reflect that reality, which was, of course, too unvarnished to survive. So catch up with this neglected period when you can, especially if the movie's from Warner Bros., like this little gem.

A tawdry and downright disturbing pre-code film that stars Barbara Stanwyck giving one hell of a ferocious performance.

Stanwyck plays the titular night nurse, assigned to care for the two small children of a negligent and drunken floozy. The children's' father is dead; the family chauffeur, played by a hateful Clark Gable, is running things, and he wants the children to die so that he can collect the trust money that was intended for them. Therefore, the children are wasting away from starvation while a useless maid dithers around and Stanwyck tries to get the hospital to intervene.

The film would probably be instantly forgettable if not for the fierce performance of Stanwyck, who throws herself (quite literally) into the role of savior, taking punches, getting thrown into a wall, all while dishing out some punches of her own. This is film-making of the sensational Warners variety, featuring lots of suggestive dialogue, shots of Stanwyck and her nurse buddy, the saucy Joan Blondell, in their underwear, and a world in which things like murder are o.k. as long as they're done for the right reason. The movie is certainly no masterpiece, but it does have that energy and sizzle that characterized Warners films from this time period, and it is effective on its own modest terms.

Grade: B+