Cortesãs Modernas

I read with interest the comments of the critic for "Three Broadway Girls." Then I saw the movie. I must say that in accordance with the critic's 2007 standards, he was quite correct in his analysis. However, I am now 80 years old and remember the pictures in those days fairly well. I would say that the critic must be in his 30's or 40's for he evaluates the content and acting with those skills of 2007. If he were a critic in 1932 or the 30's for that matter, I think he would find this a 'charming' bit of humorous story telling. I would offer that those who criticize motion pictures should take into account the era in which they were made, and NOT evaluate them with the 2007 era standards.

This isn't a Warner Brothers quickie but there's a warm sense of familiarity about it and although we don't have the usual Warner family, the three girls do have a sparkling on-screen chemistry. Fans of 'Gold diggers of 1933' will like this - it is of course not as exceptional but it's got a similar plot, similar characters and that same upbeat, fun feel - but without songs.

Joan Blondell enjoyed the opportunity of working at a more relaxed pace in a more luxurious studio with Coco Chanel dresses and that enthusiasm coupled with her natural comic timing make her shine in this. George Barnes on camera captures her vibrancy brilliantly and his love making through the camera leads to him actually marrying her. Surprisingly though, she isn't the star in this, that accolade goes to Ina Claire, whom I confess know little about but she's fabulous in this. Not too sure about Madge Evans but nevertheless considering they've only just been thrown together for this, there's a real chemistry between them making them seem like they really are best friends.

Kind of remade twenty years later as 'How to Marry a Millionaire' but this original version, although only o.k. Is still just marginally better.

The Goldwyn production based on Zoe Akin's racy play about three gold diggers has Joan Blondell, Madge Evans and Ina Claire playing the trio, double-crossing each other as the mood suits them with the men falling like tenpins. David Manners, Phillips Smalley, even Lowell Sherman, the director, who doubles as a concert pianist is not immune to their machinations and *ahem* talents. Apparently George Barnes, the director of photography fell in love with Blondell on the set. They married the next year; presumably Claire would have stolen him from her, except every time she put on a new costume, she rushed over to show soon-to-be ex-husband John Gilbert how she looked.

The wisecracks fly fast and furious. Miss Claire, with her cigarette voice and scheming role steals the show every time she's on. It's a crackling Pre-Code, even though the lingerie shots are kept to a minimum

Three "former chorus girls" team up to capture rich husbands. But they spend as much time fighting with each other as they do the men they try to snare. This film is based on a a play by Zoe Akins (THE GREEKS HAD A WORD FOR IT) which is also the basis for the softer and more genteel 50s version HOW TO MARRY A MILLIONAIRE.

In this pre-code version, Ina Claire plays the grasping and back-stabbing blonde who will go to any length to get what she wants. Joan Blondell plays the sensible girl (stocks and bonds), and Madge Evans is the sensitive one. All three dish the dirt while they chase after rich David Manners, that is until Claire decides that his daddy is a better catch! Lowell Sherman directs and co-stars as the Russian pianist (from the Bronx) who also dallies with the 3 ladies (and possibly with Manners?).

Ina Claire is totally outrageous here but fun to watch as she chews the scenery. Blondell, Sherman, and Evans are also very good. Manners is rather bland (as usual).

Polaire (Madge Evans), and Schatzi (Joan Blondell), are two Broadway actresses with manageable problems, but when their conniving friend Jean (Ina Claire) returns from Paris, broke and in search of a rich husband, their tranquility is upended. Polaire is trusting, and engaged to the honorable and wealthy Dey (David Manners). Schatzi has Pops, a sugar daddy, who remains off screen. Jean then goes to work trying to break them up, so she can have the men to herself.

Lowell Sherman ably directs and appears as Boris, a famous concert pianist who bets Jean money he can make her fall in love with him, but Boris falls for Polaire instead, allowing Jean an opportunity to wreck another couple. Jean's problem isn't that she's too clever for own good, it's that she needs excitement dull but respectable men can't provide. Once she has the money to send her away, and quiet down any scandal, Jean can do what she loves most: being in the company of Polaire and Schatzi. Adapted from Zoe Akins's play, the film is sprinkled with bon mots, and is a funny and sophisticated look at the complexity of female friendship.