Eu e Minha Pequena

This film covers lots of ground. It starts out being a slice of life in Depression era New York City where New York cop on the beat Danny Dolan (Spencer Tracy) meets diner waitress Helen Riley (Joan Bennett) and they fall in love after a rather raucous romance. During this time, Danny gets a promotion and becomes a detective on the force. This is the precode part of the film.

The noir part of the story has to do with Helen's sister, Kate. She had been in love with gangster Duke Castenega, but when he left town she got engaged to the horse-faced but honest and steady Eddie, who is a merchant seaman. Kate gets married and Duke is captured and sent to prison but manages to escape, finding his way back to Kate while Eddie is out to sea. This is the noir part - Kate willing to blow up her life over a strong physical attraction to Duke that I think even she mistakes for love.

The two parts of the film intersect when Danny is one of a group of detectives tasked with bringing Duke in, with Helen having divided loyalty between Danny and her sister.

There are lots of interesting, poignant, and funny scenes - Danny and Helen playing out a scene from "Strange Interlude" that they remember as "Strange Innertube", Danny rescuing a dog that his homeless and hungry owner is getting ready to drown out of desperation, Kate's drunken wedding reception and her dad throwing the radio out the window. As for the dog that is rescued, I thought it was odd everybody was so interested in the dog having plenty to eat, but nobody ever bothered to help his elderly and equally hungry owner who had already said that if he had the nerve he would kill himself. Some things never change.

What took an entire star off of my rating were the tedious scenes involving a perpetual drunk who just gets annoying. Every time I think he is gone for good he comes back, ruining every scene he is in. Fortunately, he is completely gone during the second half as the action and drama part heats up.

"Me and My Gal" is an ingratiating pre-Code comedy-drama enhanced by spirited banter between Spencer Tracy and Joan Bennett who play two young people feeling each other out as potential mates. Bennett is surprisingly good as a wise-cracking, down-to-earth waitress who speaks her mind and can easily hold her own against Tracy's New York City cop. The pre-Code era's lack of pretense about sexuality makes their impassioned kiss in the diner -- as the two knock over items on the lunch counter -- all the more humorous. Bennett, both impressed and amused by Tracy's kiss, responds: "If you're gonna kiss me like that, you're gonna have to marry me." It's a magical little moment that caused the passage of time since 1932 to drop away and left me there with them to enjoy the fun.

A sub-plot involves Bennett's newly married sister, a good girl who nevertheless can't resist her bad boy gangster ex-boyfriend. When he needs to hide from the police, she installs him in a spare bedroom, under the nose of her disabled father-in-law who is confined to a wheelchair, can't speak a word and communicates only by blinking his eyes in Morse code. Later, when everything gets resolved, Tracy tells the father-in-law that the daughter-in-law is a good kid at heart in spite of what she did, expressing pre-Code generosity for forgiveness and tolerance, even in sexual transgressions with gangsters.

'Me and My Gal' is an entertaining romance/mystery/screwball comedy, featuring charming performances by Spencer Tracy and Joan Bennett, 18 years before they would pair again in the classic 'Father of the Bride.' Both stars are at their early best here, zinging wisecracks at each other at a frantic pace. Joan Bennett is the real surprise, shining in a role that would have been well suited for Myrna Loy or Claudette Colbert. Worthwhile for the two stars.

It is probably no exaggeration to state that Me and My Gal (MAMG) is an important film with historical significance. MAMG is also a charming and entertaining movie-----one that the eminent British film scholar Leslie Halliwell characterized as a "Pleasant little programmer, very evocative of its period.". In addition, it contains a cinematic record of 32 year old SpencerTracy delivering an appealing natural performance that compares quite favorably with his later acting style-----one which has led many critics and filmgoers to regard him as the greatest cinematic actor of all time. Finally, MAMG captures lovely 22 year old Joan Bennett in all of her youthful spirited beauty-----when she was still a natural blond and before becoming a less interesting brunette Hedy Lamarr look-alike in 1938.

MAMG was made for the Fox Film Corporation before its merger with.20th Century. Both Tracy and director Raoul Walsh worked extensively for Fox during this time. A number of Fox films from the early 1930s ended up as lost (either temporarily or sometimes forever), including Tracy's most notable Fox film------The Power and the Glory (1933).

When we see Bennett and Tracy convincingly playing youthful and romantic characters, it is easy to believe in them and their story. Tracy's command of his part in the complex narrative is astonishing in its realism. And Bennett is sexy and sassy in an engaging and lovable way that will remind many of Joan Blondell at her best. We are so fortunate that MAMG managed to survive for us to enjoy this record of these two great stars at the dawn of their significant careers. In just 79 minutes, we can see a film that is funny, dramatic, romantic, annoying (the extended drunk scenes tended to slow down the narrative), thrilling, violent, charming and even abstract (with its cinematic nod to Eugene O'Neill's stream of consciousness play and film Strange Interlude).

Don't miss MAMG the next time TCM shows it. MAMG might not have been a classic. But even with whatever shortcomings it may have had, MAMG is still a delight!

This 1932 comedy casts Joan Bennett and Spencer Tracy almost 20 years before they teamed in FATHER OF THE BRIDE. Here, their youthful zest and energy create sparks that fly! Bennett is a wonder as the wise-cracking dame who works in a diner -- Tracy is his usual hard-boiled self -- many comic twists and turns keep your attention -- there's a cute episode where you hear what they're really thinking during a romantic scene ( this happens after Tracy mentions he's seen a film called "Strange Innertube"). There's a great supporting part for Glenda Farrell who sings a provocative number at a burlesque hall. As always Farrell is full of spunk. As is this movie -- full of laughs,m great tempo and direction. A must see.