A wealthy, proper society girl finds that she's much more popular with men when she pretends to be a "bad" girl.A wealthy, proper society girl finds that she's much more popular with men when she pretends to be a "bad" girl.A wealthy, proper society girl finds that she's much more popular with men when she pretends to be a "bad" girl.
- Director
- Writers
- Stars
- Awards
- 2 wins total
Don Dillaway
- Jerry
- (as Donald Dillaway)
Blanche Friderici
- Nora
- (as Blanche Frederici)
William Begg
- Bill DuVal
- (uncredited)
Florence Britton
- Rene's Lover
- (uncredited)
Sheila Bromley
- Party Guest
- (uncredited)
Bruce Cabot
- Party Guest
- (uncredited)
Mathilde Comont
- Waitress
- (uncredited)
Thomas A. Curran
- Undetermined Supporting Role
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
What a surprising delight this film is. Constance Bennett plays a rich wallflower who just can't get the guys in her set interested. She's also has a crush on boozy and shallow David Manners. One night when he is drunk he asks her to marry him and meet him on a boat to Europe the next morning. Of course he sobers up, and she ends up going alone.
In Paris Bennett meets a charming and broke guy (Ben Lyon)whom she hires as her "gigolo" so that he can show her around and meet people. Lyon hits on the idea of making up stories about her "past" so that men will be interested. They get along great and their plan is wildly successful until a surprising event occurs.
Bennett is quite good underplaying her sympathetic role. Lyon is terrific as the cynical but honest guy. Manners is also good as the callous boozer. Cast also includes Nella Walker, Albert Conti, Astrid Allwyn, Don Alvarado, Blanche Frederici, Bruce Cabot, and Merna Kennedy.
The ending is quite a surprise.
In Paris Bennett meets a charming and broke guy (Ben Lyon)whom she hires as her "gigolo" so that he can show her around and meet people. Lyon hits on the idea of making up stories about her "past" so that men will be interested. They get along great and their plan is wildly successful until a surprising event occurs.
Bennett is quite good underplaying her sympathetic role. Lyon is terrific as the cynical but honest guy. Manners is also good as the callous boozer. Cast also includes Nella Walker, Albert Conti, Astrid Allwyn, Don Alvarado, Blanche Frederici, Bruce Cabot, and Merna Kennedy.
The ending is quite a surprise.
This is a charming, subtle little pre-code in which everything is implied and little actually shown.
Constance Bennet is a good girl from a good New York family and no one finds her interesting. In Paris she finds Ben Lyon, an indigent American who bums a beer from her. She hires him as a gigolo and he shows her how to be fascinating to men, using frequent kicks to the shin to encourage her education.
Lyon is particularly good in his fast-talking role and Miss Bennet is at her most charming. The two have real chemistry together and Edward Griffith directs with a gracefully moving camera under the control of the under-rated Hal Mohr. All of these combine to produce a comedy that is knowing without being cynical.
Constance Bennet is a good girl from a good New York family and no one finds her interesting. In Paris she finds Ben Lyon, an indigent American who bums a beer from her. She hires him as a gigolo and he shows her how to be fascinating to men, using frequent kicks to the shin to encourage her education.
Lyon is particularly good in his fast-talking role and Miss Bennet is at her most charming. The two have real chemistry together and Edward Griffith directs with a gracefully moving camera under the control of the under-rated Hal Mohr. All of these combine to produce a comedy that is knowing without being cynical.
A woman as beautiful, rich and well-read as Constance Bennett's character can't get any men to pay attention to her???
If true, she should have dumped her social circle and found a new one.
From the audience's perspective, who was sitting around in The Depression, eating soup made of unwashed socks, thinking, ''What I really want to see this Saturday for my 5c is a rich, beautiful, smart woman mope around because the dopey men around her don't appreciate her charms."
And then to escape to Paris to work up a reputation as a sk2nk?
Puh-lease.
It's insidious garbage like this that taught a generation or more of smart women to hide their brains and flaunt their inner floozy to attract a worthless man.
Now THAT'S depressing.
If true, she should have dumped her social circle and found a new one.
From the audience's perspective, who was sitting around in The Depression, eating soup made of unwashed socks, thinking, ''What I really want to see this Saturday for my 5c is a rich, beautiful, smart woman mope around because the dopey men around her don't appreciate her charms."
And then to escape to Paris to work up a reputation as a sk2nk?
Puh-lease.
It's insidious garbage like this that taught a generation or more of smart women to hide their brains and flaunt their inner floozy to attract a worthless man.
Now THAT'S depressing.
Audiences of 1932 must have been surprised to see la Bennett play an unassertive society girl who wants to be married, but who, despite her stunning looks and pots of money, is shunned by the bachelors. Although sister Joan would have been more believable in the role of Miss Unpopularity, the story gets interesting when our tongue-tied caterpillar goes to Paris and is transformed by fun loving Ben Lyon into a social butterfly with a half dozen suitors fluttering around her, including the shallow boy from back home. And now that she can pick and choose, who do you think she ends up with at the finale? No matter. This is a pleasant little film and it's fun to watch Bennett sip champagne cocktails and flirt with fortune hunters in one stunning costume after another. No wonder her fans loved her.
"Lady with a Past" is Constance Bennett as an unlikely bookish wallflower who sails from New York City to Paris where she engineers a fake sex scandal hoping it will make her the talk of the town by the time she returns and thereby attract the attention of young men who find her literary chatter a big bore. She also talks to herself and pretends to be singing out loud when caught in the act.
Her co-conspirator in Paris is the golden voiced Ben Lyons whom she picks up at a sidewalk café after he tricks her into paying his food and drink tab. But her heart really belongs to David Manners, a handsome member of her social set who is looking for someone more exciting.
If this all seems terribly unexciting, it is. Then why watch? Miss Bennett, of course. They don't make 'em like that any more. In the pre-production publicity it was said that Miss Bennett was being fitted for 17 gowns to wear in the film. I didn't count, but she probably did.
Her co-conspirator in Paris is the golden voiced Ben Lyons whom she picks up at a sidewalk café after he tricks her into paying his food and drink tab. But her heart really belongs to David Manners, a handsome member of her social set who is looking for someone more exciting.
If this all seems terribly unexciting, it is. Then why watch? Miss Bennett, of course. They don't make 'em like that any more. In the pre-production publicity it was said that Miss Bennett was being fitted for 17 gowns to wear in the film. I didn't count, but she probably did.
Did you know
- TriviaWas about to start filming with rising star Robert Williams in the role of Guy when Williams died from a sudden attack of appendicitis and peritonitis. Ben Lyon replaced him in the role.
- Goofs(at around 9 mins) Venice mentions to Donnie that her drink is strong. When he offers to taste it, she hands him a glass that has less liquid than when it cuts to him tasting the cocktail.
- Quotes
Guy Bryson: You look like a ... good girl.
Venice Muir: Oh, do I?
Guy Bryson: You are a good girl, aren't you?
Venice Muir: Yes, I'm afraid that may be my trouble.
- SoundtracksYou're Driving Me Crazy
(1930) (uncredited)
Written by Walter Donaldson
Played as dance music at Lola's partry
Details
- Release date
- Country of origin
- Languages
- Also known as
- Una mujer con pasado
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $541,075 (estimated)
- Runtime1 hour 20 minutes
- Color
- Aspect ratio
- 1.37 : 1
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