Beleza à Venda

A story like this in the 30s even with its relative mildness to today's movies could've only been made because it belonged to the pre-code era. It does have its share of problems with some outdated views but at the same time, there are a lot of things in it that are progressive even by today's standards. The story itself can be seen as a classic rom-com trope now but the film treats the subject quite bleakly while having enough stuff for levity. It is not much more than a studio movie from the 20s but it has moments of brilliance in the script that make it really interesting. Madge Evans and Una Merkel are charming and powerful on-screen, the two biggest reasons the film works so well. In most of the romantic movies, I've seen till the 50s and 60s the male lead is almost never really convincing enough for me. Maybe it's because of different sensibilities but I feel like it has to do more with how men looked upon themselves than how women chose them at the time. This is one of the rare times where I thought Otto Kruger's character was nearly convincing enough for me to not cringe while watching the romantic scenes.

The story opens with Letty (Madge Evans) sending her mother back to their hometown of Paducah after her father has died. In a front porch step conversation with her landlady's daughter (Una Merkel as Carol), we learn that Letty's "rich dad" died with nothing but debts and after paying them all off there was only 600 dollars, which Letty credited to her mother. A recent beauty school graduate, Letty now has to earn a living given that she has no money. This one little conversation tells you all you need to know about our main characters. Letty - hopeful despite her family's bad luck, courageous, full of class. Carol - protective of her friend, sassy, wise in the ways of the world and unapologetically a mercenary when it comes to men, and Carol's brother, Bill, not bad looking at all, but as grating on the nerves as Pee Wee Herman and just as appealing, and worse, he's in love with Letty -it s not mutual - and he's the moralizing kind. We also understand from this conversation that Madame Sonia's Salon is not for girls of the faint of heart - girls like Letty who were raised "like a Persian Kitten". Letty says she can take it, so Carol promises to get her a job there.

During the next prolonged scene, at Madame Sonia's exclusive salon, we get the lay of the land there - girls glad to be employed in the depression, but with wealthy bored beefy customers, these girls want a piece of the high life for themselves. If the salon's customers can afford to lie around half the day gossiping with mud on their faces, why can't they? During the first half of the film, whenever any of the beauticians are photographed together, they are usually in profile, oddly smiling and at an odd angle, like those "happy workers unite" posters in Old Soviet Russia. Later, as things do not work out quite so well, the photography becomes more individualistic and conventional as the focus is on what is, not what might have been.

Hedda Hopper is inspired as Madame Sonia who will do anything to protect her precious son, played by Philips Holmes. She considers the girls she employs so far beneath her she doesn't see the obvious relationship forming between her son and one of the beauticians. Alice Brady is hilarious as Mrs. Henrietta Sherwood, a rather housebound woman who has the beauticians come to her house, substitutes her dog for a child, and is obsessed with numerology. Her executive husband (Otto Kruger as Mr. Sherwood) falls for Letty, and we can sympathize with him, since he comes across as a guy who is just lonely for the wife he married but who transformed into this silly creature after he became wealthy and to whom he is now bound purely out of obligation and habit. He actually has a conversation with his wife talking about the "wife he remembers" when they were struggling. She shrugs it off and goes on chattering about her numerologist. Even Carol has a back-story that makes you realize that behind that adding machine exterior there beats a heart that was once badly broken and made her the mercenary she is today.

This film has a little bit of everything for the precode fan, and it's worth watching more than once to get all of the one liners and undercurrents going on. Highly recommended.

This fast, fizzy, deft comedy skirts the Code so nimbly that I couldn't tell just by watching (on TCM this morning, thanks for the thousandth time TCM) whether it's pre- or post-Code. I appreciated so many unsung, supporting, and subtextual things about this ur-romcom that I can't mention them all here. In order of surprise/urgency, the top 5 are:

1. Otto Kruger! Here is the man who clearly should gotten all those roles wasted on Warren Williams - what were producers thinking? (Were they thinking?) They look about the same age, yet Otto's handsomer, less tedious, and possessed of actual romantic and comic acting chops.

2. The writing! Cattiness among beauticians, and the delectable Alice Brady brand of un-self-awareness: "I'm very intuitive." Her literal kiss-off scene with Kruger has never been done better in a comedy, not even by Meryl Streep and *insert leading man here*.

3. The bad boyfriend! An almost complex portrait of a goofball who clearly doesn't deserve the leading lady, but not because he's a bad guy. He's not all good, either. He's just not grown up. It's a forgiving, shaded character, played by Eddie Nugent with a subtlety usually missing from lame runner-up lover roles.

4. The slapstick! I don't care how many takes they went through to print the change-of-driver-in-real-estate-agent's-car scene. The result is totally worth it. I'm actually surprised I've never seen this bit in a TCM montage of silly scenes.

5. Madge Evens! Una Merkel! Listed low, but only for the surprise factor. Both are at or near their very best here. Miss Merkel never gets enough credit for delivering both sides of a double-entendre grilled to smoking hot perfection. Miss Evans does more-or-less blameless ingenue so well it's not boring - this is Carole Lombard territory, and she nails it, sweetly and demurely (well, mostly demurely, see no. 4).

I was a little surprised how much I ended up liking this little film. It has all the signs of a typical 'B' pre-Code effort, without big stars in its cast, some corny humor, and women who are looking to improve their lot in life via romance (ok, gold-diggers if we must call them that). It grew on me though, through the strength of its characters, interesting story lines, and frank depiction of adultery and the emotions that go along with it.

Three young women work at a beauty shop attending to affluent ladies, and in the process, also meet their husbands (and in the case of one of them, the boss's son). The film is very direct about the affairs this leads to, and we see that each of them is in it for a different reason: the pursuit of wealth (Una Merkel), marriage (Florine McKinney), and just simple pleasure (Madge Evans). How refreshing is it to see Madge Evans so empowered and sexually free, as other pre-Code women were permitted to be (Norma Shearer in 'A Free Soul' comes to mind). Here's the exchange she has with Merkel's more mercenary character, who asks her what she's going to get out of it:

"Oh, I'm not trying to get anything out of it." "I hope he's not out to get anything either!" "Of course not. He was lonely." "Lonely? (laughs) Unless there's a mistake in the census report, there's 4 million other people in New York besides you." "Well anyway, his wife came back three days ago." "Oh, so now he isn't lonely anymore. I bet you haven't seen him since!" "Why should I? It amused him to take me out. It amused me to go. It was a pleasant friendship, that's all, and it's over. Why, I'll probably never see him again."

Note she's just a cheerful young woman with a good head on her shoulders who has enjoyed a fling; not a wanton creature doomed because she's sinned.

It's a dangerous game, though, as Merkel puts it so aptly when real feelings are involved: "You don't want to have to hang around the back door of his life, begging for a handout. You don't want to have to sneak and hide and keep outta sight the way I do. And in the end, when he turns back to his wife and his home, you don't want to be kicked out in the sacred name of respectability - the way I was." And aside from the frustrations of being the 'other woman', the film gives us some pretty dark stuff: unplanned pregnancy, an allusion to an abortion (a separate case we hear about via gossipers), and real despair. McKinney has one of the film's great scenes when she's trying to process an emotional shock, giving the film a depth I didn't expect.

Madge Evans is irrepressible, taking things as they come with a buoyancy that is never cloying, and in fact, we often see her resigned stoicism. Her character is a nice combination of being virtuous but also knowing the ways of the world, and she also has no inhibitions about smacking Una Merkel on the butt or kissing her on the lips in friendly affection (a common pre-Code bit of titillation, as are scenes of the women changing, revealing the lingerie of the day). Merkel is delightful too, though I liked her character more when she was putting her brother in his place than when she was seeking gifts from her aging sugar daddies.

This brother is played by Edward J. Nugent, and he's always joking around, and in pretty endearing ways early on. We see him pretend to drop a plate in front of his mother (May Robson) and then catch it, for example. We see an unpleasant sides of him as time goes by though, and his jokes get a little tiring ("Well, no harm will come to that, as the drummer said when he looked at the cross-eyed old maid"), though I confess I actually chuckled at just how bad they were. He's a nice enough guy, but he's just not all that sophisticated, and he's a little creepy too, for example, making it clear that he's had a variety of women succumb to his 'charms', and what he intends on doing on his honeymoon.

The supporting cast is deep, and part of the film's appeal. The manager of the shop (Isabel Jewell) and owner (Hedda Hopper) are given strong personalities and lines. Otto Kruger is smooth and refined as the lawyer Evans carries on with, and Alice Brady is fantastic as his wife; she's a pampered dingbat, and into things like numerology and astrology. "We vibrate in different planes," she says at one point, channeling the 1960's. In another hilarious moment she has Evans bend her legs back over her head 50 times as part of the "exercise" that will help her with her "undeveloped hips". The gossiping patrons also keep things lively with various comments we hear in between major scenes.

The wealth gap is on full display, which was another interesting aspect of the film. We learn that Brady's character wasn't always as she is now, and that wealth not only spoiled her, but made her lose touch with the realities of the world. The clients of the beauty shop have money to burn, and fritter it away. One of them brings her little girl in to also receive treatment, and after it's over, the girl impudently sticks her tongue out at the manager. The mother has just spent $42.50 for the two of them - that's over $800 in today's dollars - and this was during the fourth year of the Depression! The film falls into a common trope of the era - getting out of poverty by meeting someone rich (essentially winning the lottery) - but it does manage to get some satire of the wealthy in.

Beauty For Sale stars a radiant Madge Evans as a good girl trying to make it as a beautician in Manhattan. The film is a little more than a multiplot soap opera but benefits from Evans, the unlikely romantic lead (Otto Kruger), solid direction by Richard Boleslawski, and most of all, superb photography by James Wong Howe (here credited simply as James Howe). The film is sublime when Howe's camera is most active, with superb lighting and set-ups and some scenes that look like they could be from films shot 20 or 30 years in the future. His sense of depth is particularly impressive, especially in a brilliant scene involving a slowly swinging bathroom door! The film feels like a classic at about the two thirds mark, but sadly cycles down to merely enjoyable by the final reel, as comedy and romance take over from tragedy and drama. Nonetheless, this is strongly recommended.