Young Man of Manhattan

This routine seriocomedy flirts with some interesting ideas but doesn't really follow through on them enough to distinguish itself. Colbert and Foster play reporters who marry, then find their careers are a problem--both of them have erratic hours, occasional late nights and out-of-town trips, so each is never there when the other wants them. His character isn't particularly sympathetic by today's standards, because he whines and moans whenever her work takes her away from him, but when the shoe is on the other foot he doesn't grasp the hypocrisy of his complaints one bit. Worse, he takes to drinking too much, isn't grateful when she pays the bills because he can't, and strings along a besotted ninny (Ginger Rogers in her early dark-haired, squeak-voiced phase as a flapper caricature) for idle diversion. Colbert meanwhile is courted by a rich patron/news source, but keeps him at a professional arm's distance.

In the early-talkie manner, there's a rather stilted, interior-bound quality to the action, with dead-air sound (actually downright poor sound in the transfer I saw, but that might just have been the fault of a poor dupe) and very little background music. This movie actually could have used a nightclub song or production number or two to liven it up; it's not quite serious enough to be involving as a drama, and not quite diverting enough to be a comedy. (Rogers does sing what might as well be the anthem for characters like hers, "I've Got 'It' But It Don't Do Me No Good," but just by herself at a living-room piano.) There's brief curiosity value in the appearance by "The Four Sherman Sisters," a quartet of pretty (alleged) siblings, but they don't perform, either; they just sling around a few weak quips and get drunk with Foster and his best pal Charles Ruggles (who's had better material, too).

There isn't anything very notably "pre-Code" about this feature unless you count the alcohol consumption, whose depiction would soon get cleaned up by the Production Code. Nor does the movie exactly capture much of a Manhattan feel, as there's little exterior footage. Foster plays a sports writer, so there's fleeting interest in (very brief) clips of various sporting events that were presumably shot for newsreels rather than specifically for this feature.

The movie's major plus is Colbert, who looks great and treats the goings on with a common- sense unflappability that suggests her heroine is considerably smarter than the callow husband she nonetheless stays loyal to. (Their marital conflicts are predictably resolved by a crisis that drops out of nowhere to re-strengthen their vows.) Co-star Foster would soon leave acting for a long, successful if seldom distinguished career directing mostly B movies and television episodes.

This shows just what a difference a skilful and committed director and an intelligent empathetic scriptwriter can make to a pretty lightweight story. You are instantly engaged in the lives of this newly married couple - they've been your friends for years haven't they?

For a 1930 picture, the acting is excellent. Everyone is thoroughly natural; the entire cast are completely believable people rather than actors simply playing parts. It's quite a rarity for a film of this age to have such an intimate, almost fly-on-the-wall feel. It makes you wonder why all films from 1930 weren't made this well.

If you didn't know beforehand that the annoying flirty schoolgirl was Ginger Rogers you would never have guessed. She's utterly unrecognisable especially with that Betty Boop voice. For a debut role, she's remarkably good as the jail-bait, fly in the ointment threatening the marriage of newly wed Ann and Toby. Although ostensibly just a silly character with a silly catchphrase, 'cigarette me, big boy,' it's actually quite a brave role for an aspiring actress to take on. She handles the nuances with sensitivity balancing the flighty and frivolous personality with the disturbing connotations of underage sex and possibly breaking up a marriage.

Besides the real life couple, Claudette Colbert and Norman Foster who play the newly weds, who are excellent, Charlie Ruggles gives a surprisingly great performance as well. Again this demonstrates the effect of good writing raising his character from that of a silly drunk to a well rounded sympathetic real person.

As well made as this is, it's actually a fairly insubstantial story but made and acted extremely well. It's hardly great, it's not clever or innovative and certainly not memorable but nevertheless it's hugely entertaining.

I thoroughly enjoyed this quirky little film that plot-wise isn't much more than the story of the trials and tribulations of a newlywed couple, starring an actually married couple, Claudette Colbert and Norman Foster. What makes it special are the precode themes, the look inside the lives of somewhat normal people in big bustling New York City at the end of the Jazz age but before the Depression has really taken hold - there's not a mention of it here, and finally Ginger Rogers as a knock-off of Helen Kane, something she did only early in her career.

The story revolves around the whirlwind courtship and then marriage of movie columnist Ann Vaughn (Claudette Colbert) and sports columnist Toby McLean (Norman Foster). We don't see much chemistry building between the two - they barely have met when Toby bursts into Ann's hotel room and declares his love, and in the next scene they're married. Ann claims to be a modern sort, says she doesn't mind paying for their apartment, says she thinks that they should feel free to see other people for dinner dates although they're married, and talks the talk of a thoroughly modern woman. However, flapper Puff Randolph (Ginger Rogers) chasing her husband and Ann's discovery of her husband's seeming lack of professional ambition soon has her walking a different kind of walk. It doesn't help that both Ann's and Toby's jobs have them spending long stretches on the road and away from each other.

Charles Ruggles really did a good job here as Toby's friend and fellow sports columnist Shorty Ross. Paramount gave Ruggles more than his share of parts as the annoying perpetual drunk in the early 30's, and in this film he does more than enough drinking, but manages to get some good lines in - usually at the expense of Puff - and also adds to the humor of the film in a significant way. I'd highly recommend this film for fans of precode and films that display the Jazz Age in full flower.

YOUNG MAN OF MANHATTAN is a highly entertaining comedy/drama early talkie particularly notable as the only film real-life married couple Norman Foster and Claudette Colbert made together. The duo star as newspaper reporters who meet as each is covering a boxing match (Foster is a regular sports reporter, Colbert is a multi-interest writer). With a major rainstorm going on (apparently, the fight is an outdoor match as the spectators get soaked!), Foster invites Colbert up to his nearby apartment to work on the story since she has to make the morning edition of her paper. Norman is instantly bewitched by this beautiful, intelligent "career girl" and proposes marriage before Claudette can pull the last sheet out of her typewriter.

Within the week they are Mr. and Mrs. but their whirlwind of love has potential problems. Somewhat traditional, Foster is a bit troubled by the fact that his wife makes essentially the same salary and then there is the issue that while he seems content to doodle through life as "just" a sports reporter (despite vague dreams of writing fiction), ambitious Claudette is eager to move up in the writing world. She's also remarkably "modern", suggesting that since both are always on the go pursuing stories it is OK for both of them to have "see" other people, presumably as platonic dinner dates. While out of town covering a story, Foster is pursued by teen-aged socialite/vamp Ginger Rogers, who follows him back to New York. Colbert continues to move up the publishing ladder, sent to California for an extended period to cover the film industry. Norman, meanwhile, continues ignoring bills, gambling, giving friends loans, and barely writing his column much less aiming for something higher and baby hussy Ginger is making her designs on Norman a little too obvious for Claudette who finds she isn't so modern after all and asks Norman to stop seeing her. When she finds out the duo were spotted at "The Jungle Club" the morning after Foster slips in at 3 am after a bender, it's the last straw and she asks him to move out.

This adaption of a popular Katherine Brush novel of the day may be a standard story but the cast makes it something quite wonderful. This was one of Claudette Colbert's first films, obviously with no star power at the studio at this point, she is frequently shot from angles she would have never permitted a decade later and while they may not flatter her beauty at times, she remains at all times an attractive and appealing woman. Husband Norman Foster made a career out of this type of character in early talkies, the smooth talking every man who turns out to have a number of character flaws and proves to be a mistake for the star lady. Here he has a more sympathetic adaptation of that character than normally and he makes the most of his role. 19-year-old Ginger Rogers is almost unrecognizable from her later superstar persona, here a dark-headed redhead, she speaks in a flirty almost Betty Boopish voice and is quite the coquette even if she too is often not photographed at her best. The fourth major character of the film is played by Charles Ruggles, a few years away from his own stock persona as the harried middle-aged everyman, it's particular delight to see Charlie as a snappy newspaperman with a sharp wit and a equal love for the ladies and liquor.

Basically a romantic drama with some good laughs, YOUNG MAN OF MANHATTAN although a modest picture is sure to please fans of pre-codes and certainly makes one wish Mr. and Mrs. Foster had been teamed together more often than this single film. Sports fans will also want to check it out for the (very) brief stock footage of Jack Dempsey, Gene Tunney, and Babe Ruth inserted into the picture.

The "Young Man of Manhattan" of the film is a young sports writer, Toby McLean (Norman Foster). He falls in love instantly with Ann Vaughn (Claudette Colbert), a newspaperwoman and they get married. Unfortunately, numerous circumstances, such as a "16 year-old who thinks she's Greta Garbo" (Ginger Rogers), and jealousy threatens to kill their perfect marriage.

Having read and liked the book (A thoroughly forgotten fluffy bestseller of the 20's) of the same title, I was interested in how it would be made into a musical. It's not really a musical though, like the IMDb says; it's a drama with a few songs thrown in here and there. It wasn't a bad movie, actually a lot better than a lot of early talkies. Surprisingly, it's very faithful to the book. Claudette Colbert and the rest of the cast are solid; Ginger Rogers is fun and it was cool to see her so young and still red-headed. She performs an utterly charming song, "I Got It But It Don't Do Me No Good".Norman Foster is fine, but often comes across as whiny and a bit wooden. Still, Young Man of Manhattan is a great one for 1930, and worth seeking out for the stars.