La demoiselle du téléphone

This Cary Grant film is not among his better known pictures...and after seeing it, I understand why. The film is amazingly shallow and light-weight...and quite forgettable.

When the film begins, you learn two things about Julian (Grant)-- despite looking wealthy, he is about to go belly up AND he is an idiot. Why an idiot? Because he meets a lady and knows nothing about her but instantly he declares that he's in love. Later, to get her attention he pretends to shoot himself...and at this point, I was really wishing he'd do it for real!! The film was contrived and repeatedly Julian was just an idiot...and needed a switchboard operator to save him again and again. A very poor script make this a film mostly of interest to huge Grant fans...but no one else. A big misfire.

Cary Grant simply isn't good at silly. Maybe I have too many images of him being the lead man in dramas, so to see him playing in bad comedies like "Kiss and Make-Up" and "Ladies Should Listen" is off putting. With a title like "Ladies Should Listen" you have to expect it to not be good.

The is the second movie in which Cary Grant's character steals the significant other of Edward Everett Horton. Horton can't get a break. Whatever movie he plays in he's the square, the nerd, the geek there to play off of the leading man.

Cary Grant plays Julian De Lussac, a French inventor and ladies' man. He was interested in Marguerite Cintos (Rosita Moreno) while Susie Flamberg (Nydia Westman) and another woman was interested in him. All Julian wanted was Marguerite and he had to have her.

Marguerite had called Julian to end their relationship. In a ploy to keep her, Julian pretended to commit suicide while on the phone with her. Within the next minute a distraught woman ran into his room openly mourning his death like she was mourning a lost lover. When Julian got up from playing dead he found that the woman was not Marguerite but Anna Mirelle (Frances Drake), the switchboard operator for the building.

Here's one for you. Through overhearing just about all of Julian's telephone conversations (probably prompted by seeing him and being hopelessly attracted), Anna had come to know and love Julian. She was eavesdropping at the time he pretended to kill himself and was so overcome with grief that she ran up to his apartment to have a moment with him instead of calling emergency services.

She was an obsessed stalker, but she was pretty so it was OK. Right? Plus, this was a comedy so normal rules don't apply. Even still, she was like many women in films who fall for the philanderer. They know he's just looking to conquer one woman after the other, yet they believe that they'll be that woman that he'll settle down with. They do everything they can to gain his attention and prove that they are a better option than all the other hussies he sleeps with while he overlooks her until she does something so outstanding he finally sees her with a romantic eye.

Groan.

The title "Ladies Should Listen" didn't mean what I thought it meant; that ladies should heed their man. In this case it meant that they should listen in or even eavesdrop in order to uncover nefarious plots or be well-informed.

Anna listened and listened. She bent over backwards to protect her crush. Her job and her dignity were both worth sacrificing to give her unsolicited assistance to Julian. It was embarrassing and worse, it wasn't funny.

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LADIES SHOULD LISTEN (Paramount, 1934), directed by Frank Tuttle, ranks one of the many "drawing room" comedies produced during the 1930s, and although not based on any current stage successes, it looks more like a filmed stage play. Not quite on a lavish scale as the more productive MGM comedy with Robert Montgomery or Norma Shearer, LADIES SHOULD LISTEN features the up-and-coming Cary Grant, several years before rising to super-star status, then showing his capability as a light comedian in spite of acting in a part that might have been best suited for popular Frenchman Maurice Chevalier, who, by then, has moved on and no longer part of the Paramount banner.

The story revolves around Julian De Lussac (Cary Grant), a Parisian man-about-town who, through no fault of his own, gets himself involved with three women at the same time, including one in particular, Anna Mirelle (Frances Drake), a switchboard operator who listens in on Julian's telephone conversations, who becomes his protector. Aside from Susie Flamberg (Nydia Westman), an comely bespectacled young lady who does her best to garner Julian's attention in spite of being engaged to Paul Vernet (Edward Everett Horton), matters become complicated when Marguerite Cintos (Rosita Moreno), who, along with her husband, Ramon (Rafael Corio), make attempts in having Julian as their next blackmailing victim.

The supporting cast consists of George Barbier as Susie's father, Joseph; Charles E. Arnt as Albert, the manservant; Charles Ray, a once popular leading man of the silent screen now appearing in minor roles, playing Henri, the building porter who loves operator gal Anna; with Henrietta Burnside and Joe North in smaller roles. Sad-eyed and dark-haired beauty Frances Drake, an up-and-coming Paramount starlet, works well as the nosy switchboard girl who gets herself involved in a playboy's escapades, while Nydia Westman, in her Una Merkel-type manner, provokes some solid laughs with her man-chasing performance. One scene finds her telephoning Julian (Grant), telling him some interesting news, "I'm in bed!"

LADIES SHOULD LISTEN became the second and final comedy to pair Grant and Horton of equal star status. (Horton appeared in future Grant comedies, including Columbia's HOLIDAY in 1938, and the madcap Warner Brothers comedy, ARSENIC AND OLD LACE in 1944). They had previously worked well together in the funnier KISS AND MAKE UP (1934), which consists faster pace, silly comedy climaxed by an amusing car chase. As for LADIES SHOULD LISTEN, it lacks the quicker pace KISS AND MAKE UP has, and gives the impression of being an early 1930s talkie since much of it takes takes place in Julian's boudoir. No song numbers are inserted as the earlier film, however, it does include familiar underscoring, "Falling in Love Again," a song introduced and immortalized by Marlene Dietrich in the German produced musical-drama, THE BLUE ANGEL (1930).

With the screenplay by Claude Binyon and Frank Butler, LADIES SHOULD LISTEN should have been more amusing, and with Ernst Lubitsch in the director's chair, who had worked wonders with material such as this, it would have been, especially with Cary Grant in the lead. What's equally surprising is that this comedy is relatively short, 62 minutes. Out of circulation in the television markets for quite some time now (having been presented on New York City's WPIX, Channel 11, prior to 1972) LADIES SHOULD LISTEN, might be something to consider if it should ever be resurrected on television again. "Operator, please connect me to Turner Classic Movies programming department." One final note, star searchers, look closely for future leading actress, Ann Sheridan, appearing briefly as a fellow switchboard operator named Blanche. (**)

I had low expectations of this post-code film after having watched Cary Grant in the previous, KISS AND MAKEUP. The entry credits for this film let everyone know that this is/was a Hays Code approved film (pretty much they started inforcing this around 1934ish). The 59/62 minute length should be the give away. If you are a quick study you can see where they have chopped this (by a startling change of scene), and likely severely edited it. During the film you can also see only one person in a bed, not two, (and fully clothed everyone.) Kisses get panned away as well. You can find a full list of the dos and don'ts on Wiki (gratis Hays in conjunction with his Jesuit accomplice.). One of the things that they did with these transition heavily edited films was to attach them to full length features either as a prelude or postlude.

A pity in this case, since the script - cut as it is - is surprisingly funny, and the lead actors managed to pull this off quite well. It perhaps also says something about the person who was tasked with the job of patching together what was left after the cutting room floor debris, since it does make a tidy little film. A delightful 1930s romp.

Ladies Should Listen (1934)

* 1/2 (out of 4)

Julian De Lussac (Cary Grant) is a businessman who is going broke so he falls in love with a woman (Nydia Westman) to try and get her money. Soon she begins to lose interest so while on the phone with her he pretends to commit suicide, which sends switchboard operator Anna (Frances Drake) into his room. It turns out that Anna has been listening to all of Julian's calls and knows everything about him. Before long Julian has a third woman after film.

LADIES SHOULD LEAVE is a pretty darn bad movie on many levels. Well, I guess I should say that it's your typical plot less "B" movie that would have been shown as the second or third feature back in the day. If you took Grant out of this picture then there really wouldn't be a reason to watch it and even with the screen legend it's hard to actually recommend this thing.

The script is a complete mess from start to finish as nothing is ever really explained and things just seem to happen for no reason. Even worse is the fact that the film is a complete bore with only a couple laughs scattered throughout its 60-minute running time. The characters are all rather shallow and boring. Even the switchboard operator is more creepy than anything else.