I've Got Your Number

.. like Joan's dependable sassiness and some funny bits from Allen Jenkins, but this isn't a DVD I'd put under anyone's Christmas tree. The plot, very briefly, revolves around Joan as a switchboard operator who is used (more than once) to help someone else commit a crime, and Pat O'Brien is a phone line repairman who (separately) becomes involved with her.

O'Brien's character is a sleaze, to say the least. We see early on that he treats women like samples in a meat market, but once he sets his sights on Joan, he goes all out, first insulting and bullying her into giving him a tumble, then eventually overturning her dining table so her dinner will be ruined and she'll then let him take her to a restaurant! (I kid not...) Joan gives as good as she gets, of course, but inexplicably, his boorish behavior wears her down and she falls in love with him. Okay, I realize this was made in the 1930s, but really!

As mentioned, I liked Allen Jenkins and his comic moments, one with a bogus palm reader (the great Louise Beavers), another when he's needed to listen in on dirty dealings by phone, and while there is mayhem going on he is there, fast asleep! His frequent delivery of the line, "Let's get outta here!!" in an exasperated voice is funny and doesn't get old.

Thumbs up to Eugene Pallette's performance, too. He sees O'Brien for the worm that he is and isn't shy about expressing it. I'd recommend it mainly for brassy Joan Blondell.

This one looks like it was originally planned as another inexpensive vehicle for Cagney, like THE PICTURE SNATCHER (in which he played a photographer) or TAXI!: ordinary Joe roles that the men in the audience could identify with, and when Jimmy snaps into action, they can imagine themselves doing it. After all, what's he got that I don't? But he again threatened to walk, so they tried O'Brien out in the role. He's an Irish sort of actor too. Maybe the audience won't notice.

Unfortunately, I noticed and it became something of a chore to make my way through this movie when the top-billed actor doesn't get much screen time. As often happens in lesser Warner Bs, it's the supporting players that kept me watching, particularly Eugene Palette. But you can skip this one.

Pat Obrien and Allen Jenkins are phone line workers, keeping the phone line working. Eugene Pallette was usually the (huge) sarcastic butler or father figure, overwhelmed by the events of the day. Here, he's the phone company boss, already sick of Terry and Johnny's antics. Joan Blondell and Glenda Farrell were both HUGE, hollywood stars of the 1930s. They are Marie and Bonnie, switchboard operators who meet up with the phone workers, but refuse to go out with them. Terry (Obrien) pretty much stalks Marie, which was probably cute and romantic back in the day, but would be considered harassment these days. so many double entendres and naughty jokes. it's okay. there's a stolen money caper, and Marie gets caught up in it, and must figure out who-dunnit. great work by Blondell, O'brien, and Farrell. Directed by Ray Enright, who had started in silents with the genius Mack Sennett. Story by William Rankin; he had worked on some biggies (harvey girls, only angels have wings) but still no oscars. I've got your Number is pretty good stuff.

If you know who Warren William, Marian Davies or Archie Mayo were, then there's two facts about you: 1. Your taste in movies is not the same as everyone else and 2. You will quite enjoy this film. If you have no idea who those people are then you're either not over 130 years old or don't spend your time watching pre-code Warner Brothers b-movies......and will probably find this film a bit of a nothing.

Even for those of us who watch these types of movies, this is nothing special but it's got that familiar type of 'nothing special' which some of us have just got used to. Like smoking, you just get into the habit of watching nonsense like this. You watch the same people turn up and do the same stuff in all these types of film, they're almost like your extended dysfunctional family - you feel connected. I've Gone Your Number is not one of the best but it's still an hour and a bit of fun, silliness, suspense, sexism and wisecracks.

Why is it not one of the best?

You will wonder why Pat O'Brien isn't James Cagney because surely he'd do it better. Pat O'Brien could swagger it as well as Cagney but he's very much a second best choice. Although his character is meant to be a lad-about-town, even for 1934, he comes across as quite an unpleasant bully. These days, his 'courtship' of Joan Blondell wouldn't result in a romantic kiss but several months in jail.

Joan Blondell doesn't stretch her acting skills too much in this, indeed she's very much just the passenger. She's always trying to do the right thing but gets taken advantage of - we would rather see her in control, not just a helpless damsel in distress.

Even though she was not well when filming this, she is still the usual sparky, wisecracking, gorgeous and compassionate dame you expect. Whatever she's in, she guarantees to make you smile. Us twelve year old boys who were born in 1920 should be grateful that the censors failed to remove one little scene at the end, that's of Joan leaning over the bed in a very low cut negligee - golly! This scene was actually filmed at Joan's own home - she was recovering from an operation so too Ill to go to the studio. Even having a major operation was no excuse for slacking if you worked for Warner Brothers!

With Warners pre-code you win some and lose some but it's only takes an hour or so. The dark flat cinematography, the salty dialogue, the best actors in the world, Blondell in close-ups.

The cad played by O'Brien doesn't deserve her, but he risks his life, mobilizes his networks, beats the odds. Those there to see Blondell can appreciate that O'Brien loves her as much as we do and on the plus side that he is employed and possesses telephonic super-skills. It must be love as Blondell and O'Brien can both rap at Warners-level supersonic speeds. With Jenkins, Pallette, Farrell, et al, this is the murderers row of pre-code.