Romance in Manhattan

Honestly, I never really cared for the roles Francis Lederer played, until I watched this film. He is just perfect as the optimistic Czech immigrant, Karel Novak, who is so glad to be landing in America. The Great Depression doesn't scare him, he's willing to do anything and figures he can triumph over any adversity. Fate is about to hand him that chance as he faces just about every adversity an immigrant can face. First he arrives in New York with less than the money required to get in - he thought it was fifty dollars, instead it is two hundred. Instead of being deported, he jumps out of the window of the cabin he is confined in and gets ashore before he can be discovered missing.

Hungry and broke, Karel is befriended by chorine Sylvia (Ginger Rogers), when she spots him chowing down on the donuts and coffee that she and the other girls in the show were breakfasting on. Although not dismal, Sylvia is realistic about how hard times are. An orphan and only 19 herself, Sylvia is taking care of a younger brother, Frank, who is going to be put in an orphanage if he skips school again. Frank is not skipping school to hang out with some local gang though, he just wants to work selling more papers to help out his big sister whom he can see is working so hard to support them both. Karel helps Sylvia see life a bit differently, through the eyes of an immigrant who is so happy to be in bustling New York where he believes anybody can become a millionaire.

So Frank, Sylvia, and Karel become a real threesome. Karel sells papers during the day, then gets a job as a taxi driver, and things are looking up. He's hoping to get the two hundred dollars together to give the immigration people before they catch up to him, and his bank balance is rising. But then everything begins to go wrong. There is a taxi strike and Karel is forced off the job with no pay while the strike drags on. The show Sylvia was dancing in closes, and Karel offers to help out and plunders his entire bank account covering living costs. Finally, Frank skips school AGAIN to sell papers and help out, but this time he is going to be sent to the orphanage. Worst of all a crooked lawyer plays on Karel's lack of knowledge of the law and sells out Karel to the immigration people, so he is facing deportation again.

So how is this not the most depressing film ever? Because it is a love story - that of two people trying to make it in New York in slim times - Karel and Sylvia - slowly and convincingly falling in love and having great chemistry together. It's also the story of an unconventional family unit of three - Karel, Sylvia, and Frank - who would do anything for one another. I'll let you watch and see how this all works out.

It's a heartwarming tale of a different New York from decades ago - one full of boarding houses, cops on the beat who knew everyone in the neighborhood, when donuts and coffee were considered a hearty breakfast, and people largely had good intentions. It's one of my sentimental favorites.

Francis Lederer spent years of work to come up with the $50 he has to have to enter the United States as an immigrant. He even built up an $8 reserve on top of that. When the authorities at Ellis Island tell him it's been raised to $200, he's disconsolate. He jumps out of the porthole and swims, exhausted to land.... and discovers he has lost his $58. He wanders the street and sneaks into the back of a burlesque house, where Ginger Rogers stakes him to a couple of doughnuts and a couch in the room she share with her brother, Jimmy Butler.

It's a very sweet movie, with the men who administer the laws not cruel, not impatient, just doing their jobs. Certainly how you read that depends a lot on how you feel about immigration, but to me that makes it worse; Lederer is so anxious to be an American, that only the cruelest person could deny him that boon; fortunately for these uncaring bureaucrats, it's not them, it's rules. Under the Production Code, there was no way they could be villains. The fact they were sending him back to a Europe that in four years would be at war would not occur to them, and if it did, what could they do about it? At least in the movie, it turns out well for Lederer.

With J. Farrell MacDonald, Helen Ware, Donald Meek, Sidney Toler and Oscar Apfel.

A sensitive and skillful performance by Francis Lederer makes this minor film enjoyable enough to sit through. He plays a Czech immigrant who escapes deportation back to his native land by jumping ship, ending up penniless but full of spirit on the bustling streets of New York City. Soon he encounters a kindly chorus girl (Ginger Rogers) who takes him home and with the help of her 11-year-old brother helps him find work. The dialogue is peppered with lines about the state of the economy in 1934, an understanding of how difficult it was to find a job and even wry commentary on New Deal federal policies (someone on the writing team had to have been a Republican). Otherwise, the impact thins as the plot thickens. We are supposed to believe, in line with the moral code of movies at that time, that Lederer willingly agrees to sleep on the roof of Rogers's apartment building for months, coming inside to the stairs only when it rains. Somehow the summery weather never seems to change even though a significant stretch of time evidently passes during which he rises from newspaper seller to taxi driver (even "scabbing" during a strike), sporting an ever-improving wardrobe, savings account and self-confidence. To top it all off, he is helped out of legal snags relating to his immigration status (and marriage to Rogers) by the convenient fact that Rogers just happens to be very good friends with a sweet Irish cop who has connections in the municipal power structure; call it corruption for good ends.

Lederer's progress through the streets of New York City is represented by crudely staged actions in front of rear projections. Interior scenes, however, are handled imaginatively and catch the eye. Ginger Rogers is only secondary here, but when you see how many films she cranked out during this period, you have to allow her some slack. Lederer gets top billing and deserves it.

Wonderful heartfelt and humane, this superb RKO programmer from 1935 shows just how far America and its political friends have strayed from what it fair and decent. Probably a B+ feature in its day (I personally hope it was more) ROMANCE IN MANHATTAN as made by what possibly was craftsman Euro escapees keen to work in the US film industry, clearly shows that with a reasonable RKO budget, anyone deserves a break and a true chance at love in a new country. A lovely mature film with great ideals and kindness with excellent production values and genuine affection for one man's plight, this truly great (small) film has its heart exactly right and is a mini major on the RKO schedule that might have affected the senses of millions in its day. A depression romance with a good mind to show the masses what is genuinely 'right' ROMANCE IN MANHATTAN shows what good manners and commonsense can prove, simply. The RKO cinema chain of its day with 3000 seat movie palaces across the USA and elsewhere would have allowed this simple but effective genuine film to reach it's intended good mannered suburban and country audiences, thus genuinely allowing the very Man this film is about to be a contributing cog in the great wheel of American capitalism and success so fouled today. In Australia where I live, we now have a nationwide TV channel that shows these RKO films in pristine DVD clarity...in every meaning of that statement. This is a good film: in every imaginable way. This film is actually about how real people feel. A real find and unjustly neglected...except in Australia!

This delightful work details the struggle of a Czech illegal immigrant, Karel Novak (Francis Lederer), to remain in the United States during the Depression, with a sparkling script limning the cultural impact of New York City upon the newcomer. Stephen Roberts directs with his customary skill in one of his final films (he died shortly after at the age of 40) and avoids both the hyperbolic and hypocritical, particularly significant when we are given the insincerity which marks the current immigration debate with its rough moral equivalence. The Bohemian-born Lederer's strong performance is quite probably his best, with an excellent and witty scenario providing the cast, which includes many of RKO's many contract players, an opportunity to create characterizations that are well-defined. Ginger Rogers nicely portrays Lederer's love interest and there is excellent acting from Sidney Toler and J. Farrell MacDonald as two of a contingent of New York's Finest (all Irish, of course) whose assistance is crucial to the process of bringing the complicated events to a suitable climax. Superlative editing by Jack Hively must be recognized as must the top-flight camera-work of Nick Musuraca, each contributing mightily to a film which should be better known.