Criada para Amar

Unworldly professor's son John Hubbard returns to his father's house, ambitious to become a newspaper. He's encouraged in this by The Housekeeper's Daughter (1939), Joan Bennett, who has just quit Marc Lawrence's mob in disgust. Newspaper editor Donald Meek wants a story on Lilian Bond's death, apparently form falling off a houseboat, and after a night of drinking with ace reporter Adolphe Menjou, Hubbard writes a story claiming he knows who did it and falls soddenly asleep. Lawrence thinks he's going to be framed, so he continually sends henchman Victor Mature (in his screen debut) to beat up Hubbard, failing because he is a wimp.

Hal Roach not only produced this movie, he directed it, and it's pretty uneven: best when Menjou, Lawrence or Miss Bennett is about, while Hubbard is uninteresting as the mild-as-water lead. At least part of the problem with this movie seems to lie with the editing by William Ziegler, which introduced a couple of plot points which it then ignores, or has people do things simply to set up a gag. But the comedy keeps this one continually interesting.

The two (2) main studios for comedies from 1915 to 1930 were Hal Roach and Mack Sennett. Sennett developed or introduced many great stars including one (1) Charles Chaplin. The Sennett form of madcap slapstick humor were staples of the silent era. Competing with him was Hal Roach with his comedy genius Harold Lloyd. The third genius was Buster Keaton an independent. Sennett lost Chaplin and Roach later Lloyd but Roach was luckier. He was able to pair up the perfect comedy couple Oliver Hardy and Stan Laurel and a group of ragamuffins called 'His Rascals' then 'The Little Rascals'. He also proved a better business man. When their mutual distributor Pathe collapsed in the early 1930s Sennett went down the tubes. Roach attached himself to LOEWS and M.G.M. the most successful combo in film distribution and production of the time.

After the mid thirties though Laurel & Hardy were showing their age as well as the 'Rascals'. Roach also had made some poor business and political connections attaching himself to the Fascist Dictator Mussolini. This ended his association with LOEWS and M.G.M. He rebounded though selling off 'His Rascals' to M.G.M. which became THE OUR GANG series. Others who supported the short subjects would also be jettisoned as the move was made to feature films distributed by UNITED ARTISTS. Later in 1940 even Laurel & Hardy would be let go.

THE HOUSEKEEPER'S DAUGHTER showed that Hal Roach had not lost any of his skill as a Director/Producer. The cast was first rate, lead by Joan Bennett and Adolphe Menjou. By this time Joan had abandoned the blond look and had become a attractive brunette with a lithe though rounded figure. This was used to advantage in several scenes. Menjou of course was always the professional. The rest of the cast is filled with other top flight character actors including, William Gargan, Marc Lawrence, Donald Meek, George E. Stone and Peggy Wood. Also in his debut feature, Victor Mature. The only weak link is the male lead a John Hubbard.

The story revolves around the murder of a Broadway BABY and has the right mix of comedy, drama and suspense. None of these are over the top nor do each of them interfere with the other. Roach was able to keep the disparate plot lines cleanly delineated. The film from start to finish is very satisfying and this was clearly reflected in other HAL ROACH STUDIO productions like OF MICE AND MEN and ONE MILLION B.C.

Turner Classic Movies (TCM) has for the past year featured many of the efforts of the HAL ROACH STUDIOS. Those who appreciate their efforts should contact TCM and tell them so. There are many other GEMS in their library that have not seen the light of day.

Scrambled comedy more interesting for some of its players than anything else. There's sort of a plot, but its more thrown together than anything that evolves. It's like if we just keep shouting and pushing something funny is bound to happen.

On the cast side, Joan Bennett has way too much screen gravitas for a farce like this. She sure looks the part that guys would fall all over. Nonetheless, she also looks lost in the role. Good thing she soon paired up with film impresario Fritz Lang who sensed her spider woman potential. Note too, early presence of Victor Mature as a hunky gangster. No wonder he went on to starring roles. Then there's poor John Hubbard in the lead. Unfortunately, he has about as much comedic talent as I do, putting a hole in the movie's middle. But my real take-away is little George E. Stone as Benny who keeps popping up with unusual cups of coffee in the gentlest most self-effacing manner possible. He's like a demented little elf, a truly disturbing presence, at least in my movie book. I hope he finally found the right movie set. Just don't let him fix the coffee.

Anyway, I'd skip this over-cooked stew unless the only alternative is a politician's speech.

The sultry Joan Bennett adds some class to this tame comedy about a rookie reporter who stumbles upon a murder involving a mentally challenged serial killer and gangsters (one of whom is a debuting Victor Mature). It's slow to start and doesn't quite seem to know where it's going, but builds up to a decent finale.

In some ways an odd mix, "The Housekeep's Daughter" is generally well done and extremely well acted.

Joan Bennett looks more beautiful than ever, but doesn't have much to do, except look beautiful.

Adolph Menjou is simply always great, although his character makes a change that doesn't really ring true -- but so what?

Some of the finest of Hollywood's character actors make this just so much fun to watch, and seeing Victor Mature in an early role additionally makes "The Housekeeper's Daughter" a joy.

John Hubbard gives a good portrayal of a rather spacey character, but for some reason never did become the star he probably deserved to be, though he did keep busy most of the rest of his life.

I can recommend "The Housekeeper's Daughter" despite its minor flaws. Those flaws are vastly outnumbered by the joys.