La loi du plus fort

When you think of Jean Harlow starring in a movie called Riffraff, there's only one explanation for it: her leading man must be Spencer Tracy. They both play workers in a tuna cannery, and their characters aren't particularly high class. They and their neighbors live in crowded slums, and Mickey Rooney looks after his young nieces and nephews, when he's a mere child himself!

As it's the 1930s, Joseph Calleia is the villain and Una Merkel is the best friend. If you really like Jean Harlow or movies about how the lower half lives in the slums, you can watch this one. It's far from the best classic I've seen, and I've made quite a study of it. I prefer Jean when she's more glamorous, or at least trying to be. Somehow, Jean Harlow and "riff raff" don't blend well.

I enjoyed this 1935 movie. I like Jean Harlow and she gives a splendid realistic portrayal of a girl in love with a man who seems to ignore her. She looks wonderful in this movie. The story is rather far fetched about a tuna fisherman who wants better conditions and better pay for himself and his fellow workers but is rather immature and bull headed about everything and everyone. He is always getting in arguments or fights at the drop of a hat. Una Merkel as the sister is fine and the young Mickey Rooney is also in this movie. It is a pleasant story, if rather dated and old fashioned, but I did enjoy it and recommend it, and especially for us Jean Harlow fans, of whom, there are many.

Temperamental fisherman Dutch Muller (Spencer Tracy) marries cannery worker Hattie (Jean Harlow), but their marriage may not be able to survive Dutch's union work.

Riffraff is incredibly fun. Harlow is perfect, and the supporting cast is great. Una Merkel is a hoot as Harlow's sister, Joseph Calleia has another role as a smooth gangster. Mickey Rooney has some good comedy scenes as Harlow's brother(!). Spencer Tracy is an actor I've never really cared for, and I wish his role had been played by somebody else. Someone like Jimmy Cagney would have been perfect, but Tracy does a passable job.

The script, co-written by Anita Loos, is all over the place: sometimes it's a comedy, or sometimes it's a social drama. The direction is functional but unspectacular. Overall, this is definitely a B film, but it's elevated by Harlow's performance.

I had high expectations with both Tracy and Harlow in it, but there's just way too much yelling at each other. Jean Harlow comes off better, but Tracy is not a very likable guy through most of the movie.

...but I guess the title "Riffraff" would do as well as anything else MGM could have come up with - but it's not very descriptive. Hattie (Jean Harlow) is a cannery worker in love with Dutch (Spencer Tracy), a very good fisherman and also a tremendous blow-hard. He fancies himself the leader of some future workers' revolution. Hattie lives with her extended family including sister Lil (Una Merkel) and Lil's husband and two kids, with the son being played by a mischievous Mickey Rooney. Dutch doesn't treat Hattie very well - they spend most of their time arguing, and to complicate matters she has caught the eye of wharf boss Nick (Joseph Calleia).

However, between arguments, Dutch and Hattie do manage to get married. Some have asked whatever Hattie saw in a selfish windbag like Dutch, but if a coherent 500 word essay was a prerequisite for love it would be the end of the human race, and I have seen odder pairings in real life that worked. They are married only a few months when Dutch decides he was meant for bigger and better things, and he tells Hattie he is leaving her - for awhile - to find his destiny. She understandably doesn't take this well, and he gets the last word in by saying that it's goodbye for keeps. Thus begins the long melodrama of these two apart as Dutch's plans don't exactly work out as he figured and an impulsive act by Hattie meant to aid Dutch in a time of trouble and that act's repercussions show Dutch how selfish he has been and how much she really means to him.

In spite of the melodrama, there really are no bad guys here. Even lecherous Nick is likable in his own way, and his conversations with his lawyer are particularly humorous. Thus this film is pure Depression-era entertainment in the MGM tradition. It has many of the familiar building blocks of 30's MGM dramas, but they are assembled in a rather quirky way such that this is nothing that will change the world, but it's still very interesting. The cast is outstanding with good performances by all. Especially notable is Una Merkel's performance as loyal sister Lil who manages to be simultaneously feisty and frumpy.