She Had to Say Yes

She is quite charming and beautiful in this film, you could see why Gable was so smitten with her (she had his child, denied it for a long time but the kid looked too much like him to believe anything else). This film could not be made a year later after the Hayes code kicked in--young women who worked for a company that also acted as call girls for company buyers visiting town overnight. The sexual innuendo would never had passed muster after the code...the overall plot would have been rejected or asked to be reworked to a point that was unrecognizable. There are some vile people in this film and some misunderstandings that occur that make you frown. Good movie!!

She Had to Say Yes is a masterful expose' of a Depression-era America that was dominated by men. Exploitation, manipulation, and harassment of women is the focus of every scene. The film clearly casts men as the enemy, as every male role is a sleazy businessman constantly trying to trick a woman into sex or into making money for him. The only help for the female lead comes from her female friend, who helps her to gain some self-assurance near the end of the film.

Loretta Young is superb as the lead, maintaining a heartbreaking look of hope and innocence while suffering through terrible yet socially acceptable abuse from every man in her life. Also, Lyle Talbot gives a jaw-dropping portrayal of sleazy machismo and ruthlessness that lend to a truly frightening ending.

The film is quite depressing and the final lines of dialogue will leave your head spinning. Unfortunately, the film is not readily available, but if you get a chance to see it, it will blow you away.

For his first director's credited film (shared with the film's editor) Berkeley got this strange, sleazy story. The direction is mostly pedestrian except for a few good shots: a nightclub introduced by a track through shaking maracas and our discovery that Tom is cheating on Flo when he is talking to her from a phone booth and a woman's gloved hand takes the cigarette from his mouth. These touches don't make up for a film that leaves a very sour taste in the mouth. Not only is the idea of the film offensive, if believable (using secretaries as call girls for clients) but all the men in the film are scum. This film ranks with "In The Company Of Men" for its portrait of the perfidy of men toward women. Throughout I found myself wondering how this film could ever wrap up satisfactorily and indeed it doesn't. A near-rape scene is shot in the look associated later with film noir. After that no quick Hollywood wrap-up would suffice.

SHE HAD TO SAY YES (First National Pictures, 1933), directed by Busby Berkeley and George Amy, reunites Loretta Young and Winnie Lightner, having teamed together in PLAYGIRL (1932). With Lightner's name above Young's in PLAYGIRL, as with SHE HAD TO SAY YES, both films belong to Loretta Young, with her name this time around over Lightner's. Being the directorial debuts of dance director, Busby Berkeley, and film editor, George Amy, it is also notable for being the final Warner Brothers production for its leading female players, as well as a chance for both directors in showing they are capable of doing more than their titled professions. Interestingly, Lightner, whose popularity in THE GOLD DIGGERS OF BROADWAY (1929) landed her a series of starring roles for the next few years (1930-1932), including a similar titled drama of SHE COULDN'T SAY NO (1930), for this production, she was obviously being phased out by being given little to do in both plot summary and comedy relief.

Set in New York City, Florence "Flo" Denny (Loretta Young), works for the garment industry of Sol Glass and Company Cloaks and Suits. She is engaged to Tommy Nelson (Regis Toomey), a salesman for the same company. At the staff meeting, its company president, Sol Glass (Ferdinand Gottschalk), who finds stiff competition is forcing his business to be losing sales. Daniel's suggests by having the stenographers acting as customer girls to entertain the out-of-town buyers to obtain new accounts and commissions. With Birdie Reynolds (Suzanne Kilbourn) the first to volunteer, Daniel makes certain that the clean-cut Florence not to become one of them. When Birdie is unavailable to entertain Daniel Drew (Lyle Talbot), an important client arriving from Chicago, Flo volunteers her services, unaware that by doing this, Tommy will be free to spend more time with Birdie. With the help of her close friend and roommate, Maizee (Winnie Lightner), Florence breaks off her engagement with Tommy and finding herself seeing more of Daniel instead. Wanting to earn back her respect by wanting out as a customer's girl, Florence is dismissed from the company, and later finds herself accused of resorting to cheap tactics tin getting Daniel Haines (Hugh Herbert), to sign an important contract for Daniel, leading to misunderstandings regarding her reputation. Co-starring Helen Ware (Mrs. Haines); Harold Waldridge (The Office Boy); Charles Lane (Mr. Bernstein); Harry Holman, Jed Prouty and Fred Kelsey.

For a movie with directorial credit by two men, it is hard to determine which parts of the story were directed by Busby Berkeley and George Amy. The only scenes pertaining to Berkeley's directorial style would probably be the ensemble fashion sequence featuring chorines from his earlier musicals playing models as Renee Whitney, Toby Wing and Barbara Rogers, along with a one girl night club dance segment. George Amy might been responsible for some of the dramatic sequences, but this only a guess on my part.

While Loretta Young carries much of its 64 minute material, Winnie Lightner is limited and virtually forgotten she's was even in the movie by the time the THE END closing title reaches the screen. Regis Toomey and Lyle Talbot do what's expected of them, but nothing more than showing men to be no different from any other male when accusing Flo for the very sin they are most guilty themselves. Hugh Herbert plays it straight, with little of his trademark buffoonery for which he is famous. Scenes move swiftly, but become a little distorted later on.

Never distribute on video cassette, SHE HAD TO SAY YES, a forgotten pre-code battle of the sexes theme quite common for its time, is available for purchase on DVD and viewing on Turner Classic Movies cable channel. (**)

Yikes, when they said precode, they weren't kidding.

What a great social studies movie.

Loretta Young, Regis Toomey, and Lyle Talbot star in "She Had to Say Yes," from 1933. To keep major buyers purchasing from their clothing company, an organization has its models entertain the out-of-town customers. Dinner, a show, and there's a heavy implication of some after-show activity to bring in the big accounts. But the buyers are tired of the same old models.

One of the firm members, Tommy (Regis Toomey) suggests that instead of the models, they open these grand opportunities (which have bonuses attached) to the fresh, wholesome stenographic pool. One of the stenographers is his own fiancée Florence (Young), but she's off limits. However, one of the customers is desperate to go out with her, and with a big commission in the offing, Florence agrees. Florence is a complete innocent and thinks when it's dinner and theater, it's dinner and theater.

It goes from there, with Tommy fooling around on the side, and being caught by Florence. One of the buyers (Talbot) is truly interested in her, but some misunderstandings cause problems.

The problem here is that neither Toomey nor Talbot is what you'd call a good guy. But we're given to understand that all men are the same, so beautiful Florence's options are limited.

What a message. But you have to love Loretta Young, so gorgeous and so natural.

We're often given to believe, in films such as Waterloo Bridge, Baby Face, and countless others, that there were few opportunities for women to advance. They were often at the mercy of men who were their fathers, their bosses, their husbands. Since it's presented that way in film after film, I think, sadly, particularly during hard times, this was true.

This is really an interesting film. Depending on your age, think about your grandmother or great-grandmother watching this type of film and what it told them. The code was too limiting and ridiculous; I guess a happy medium just wasn't found.