God's Gift to Women

Plot? Who cares about the plot? Something about a guy with several attractive girlfriends, including the incendiary Louise Brooks and the magnetic Joan Blondell. We should all have this problem. ;>

The main action involves the classic situation of juggling three women in different bedrooms. We've all seen this a million times and always wished the juggling act would fail, the women would encounter each other, and a catfight would ensue. Guess what? This time it happens! It may not be a classic catfight, but the brawl between Louise, Joan and another attractive brunette is worth the price of admission.

This movie will appeal mainly to fans of Louise Brooks. Her part is relatively small and she appears sans her famous Dutch-bob hair helmet, thus revealing a rather high forehead. You will still be in love with her, guaranteed. The real irony here is that several other actresses appear with the hairstyle she made not only famous, but possibly immortal. The Louise Legion will also be interested in her voice acting. Her voice is fine, but the role gives her no real opportunity to display her ability. As we all know, things never really got better on that front, either.

So don't expect much out of this, just kick back and enjoy one of the great beauties of film history, the incredible Louise Brooks.

During the 1920s, Frank Fay was the highest paid performer in vaudeville, the comedian from whom Jack Benny candidly admitted he lifted his on-stage style. By 1931 when "God's Gift to Women" was released, he had married Barbara Stanwyck and groomed her for stardom while his own career was rapidly declining. An arrogant drunk with a flair for alienating his fellow performers, Fay's downfall didn't get much sympathy though it purportedly inspired the movie, "A Star is Born." For more than a decade, he was the classic example of a "used-to-was" until the producers of the Broadway play, "Harvey," tapped him to play Elwood P. Dowd. It was among the most memorable stage performances I've ever seen, a classic of fey (sic) whimsy and superb comedy timing. Jimmy Stewart in the screen version, couldn't come close. Suddenly, a far less arrogant Frank Fay was enjoying the accolades that had eluded him since the late 1920s. Watch "God's Gift to Women," a stiff, stilted early pre-code romantic romp and you'll see both why Fay's career went downhill and conversely why he had the ideal vaguely befuddled style to play a man with a six foot tall rabbit as a pal.

Frank Fay was recruited from Broadway by Warner Brothers to be built up into one of their early talkie stars, starting with his emcee role on "Show of Shows" in 1929. Most people really hate the job he does there, but you have to understand that Fay is kidding the audience in that film and in every film he does from that point on for Warners. The problem is, the audience didn't understand this and just found Fay annoying. Two years later he was out of a job as his wife Barbara Stanwyck's star continued to rise.

I actually like most of Fay's other films because I can see what he is trying to do with the roles, although I think Warner Brothers did him wrong and set him up to fail by trying to make him out to be irresistible to women in several of his roles. In Matrimonial Bed this wasn't too distracting, but here it is just annoying. Surrounded by beautiful women - including Joan Blondell and Louise Brooks, Fay - as Toto, the Romeo of Paris - becomes enamored of Diane Churchill (Laura La Plante) after just a brief meeting and a single dance. Even more annoying, Diane falls for Toto, although she admits to her father she doesn't understand the attraction - that definitely gives her something in common with the audience.

There are many good comic bits and wise cracks in the film, but it just doesn't hold together well at all. The catfight towards the end is well known as the best thing about the film, with all of Toto's women showing up at once to nurse him back to health after they hear he is ill.

The sad thing is, you can tell Fay knows he is finished in films at this point. He looks thin and gaunt here compared to Matrimonial Bed made just a year earlier. The story is he began to drink heavily when he realized he wasn't going over with audiences, and his wife's success in Hollywood just made matters worse. It is rumored that "A Star is Born" was based on the Fay/Stanwyck marriage, and I wouldn't be surprised if that is true.

This one lacks any kind of coherence. Look at it as one long vaudeville act and you'll likely come away more satisfied.

Of the six or so films Frank Fay made under his early-talkie Warner contract, half wasted time presenting him as some sort of great lover. Battling this concept takes effort and a lapse in sense, not only by the audience, but by the casts of these pictures. This is especially true of THE MATRIMONIAL BED, is less a problem in BRIGHT LIGHTS, but might have reached the ludicrous in GOD'S GIFT TO WOMEN if not for the sensational women involved. Cast as a descendant of Don Juan (annoyingly called "Toto"), it is a testament to the female talent that there is still a lot of fun to be had despite the fact that Frank Fay seldom shut's his mouth. Though the script hardly gives anyone a chance, Fay's incessant chattering "style" is only matched once, when the savvy Joan Blondell fairly bursts into the man's boudoir -- a brief example of sophisticated bedroom farce. This sequence is followed by another gem, a most unexpected three-way battle over Fay; a sexy brawl taking place atop his bed involving ALL QUIET/WESTERN FRONT'S buxom Yola D'Avril, Miss Blondell, and the legendary and stunningly gorgeous Louise Brooks. Yes, Louise was thrown to the dogs in talking pictures, but here is one time (albeit sans bangs) where she looked and sounded sensational for the few moments we were allowed to see her. Nice moments, too, by perfectly capable, delightful silent players: SUNRISE vamp Margaret Livingston, who turns up to give leading lady Laura La Plante a rough moment. La Plante is lovely, and fully up to the challenge of sound comedy. Though hams abound, Alan Mowbray (as the butler), Tyrell Davis (managing to out-fey even Frank Fay), and the fabulous if underused Charles Winninger manage quite effectively. Merely in it for Louise Brooks (and I can't say as I blame you)? Advance to the bedroom romp, but watch the women cavort throughout the opening nightclub sequence -- there are enough glimpses to satisfy. Watch for the beautiful twins from Universal's KING OF JAZZ, the "Sisters G," both of whom are coiffed in what seems to be Louise Brooks' old hairstyle.

Frank Fay is horribly miscast in this film, which is about a lothario who falls in love with a sweet young woman (Laura LaPlante). He has absolutely zero screen presence, so making him a descendant of Don Juan who is "god's gift to women" is laughable, and he exacerbates things with a dopey performance, slurred lines, and mispronunciations of names like Monet, Rodin, and Paleozoic. (And I say this not biased over the person he was in real life, the reading of which made me feel bad for Barbara Stanwyck). The film alludes to adultery with several married women carrying on flings with his character without being weirdly punished or judged, nice fodder for a pre-Code film, but it doesn't do nearly enough with this.

To be honest, it's only watchable for the brief appearances of Louise Brooks and Joan Blondell, who liven things up considerably just after the 40 minute mark. You see, Fay's character has been told he must avoid women because of a heart condition, and that if he wants to live, he "must follow the tranquil existence of an oyster." Blondell shows up in a tight dress to nurse him back to health. As she's changing into something more comfortable in the next room (cut to a long shot of her in long black lingerie), Louise Brooks shows up to do the same (and yes, cut, to her flaunting her legs while changing). Blondell climbs on top of him to get him to stay down in a bed a couple of times, a third girlfriend (Yola d'Avril) enters, and eventually the three women get into a giant catfight on the bed, legs a-flailing. It's damn silly but of course the best part of the film - and I say that with no offense to LaPlante, who looks cute in her smart haircut and does what she can opposite Fay, who's a limp noodle.

While Blondell was just about to go on a tear in the early 1930's, the film was made at a sad point in Brooks' career. As Kenneth Tynan described it in "Lulu in Hollywood," in 1930 Brooks had gone back to Hollywood, but when she met with Columbia executive Harry Cohn, each time he appeared naked from the waist up. He writes, "Always a plain speaker, he left her in no doubt that good parts would come her way if she responded to his advances. She rebuffed them, and the proffered contract was withdrawn." If you look at the steep dropoff in Brooks' filmography, with this dog of a film one of only three she made in 1931 (and one of the other two a short), it's clear why she went back to New York and almost completely dropped out of the business. Enjoy seeing her here, in a talkie - and notice that while some of the other women in the cast have the hairstyle she made famous, she sports a different look. Otherwise, if you're not a fan of Brooks or Blondell, this is one to skip.