Shopworn

Kitty Lane (Barbara Stanwyck) loses her father in a construction accident. With his dying breath, he tells her to be tough. She goes to work for her aunt as a waitress in a college town. The college boys are all after her. She falls for stiff medical student David despite clashing at first. His father is a powerful judge and his mother does not approve. David is going away with his mother for 6 months. He proposes marriage. The family pretends to go along in front of David but then the judge puts her away for violating the public morals act after refusing to accept his $5000 bribe. David is told that she took the payout when she's actually sentenced to prison work for ninety days. She joins the Follies upon released and becomes a big time star. Six years later, David comes looking for Kitty. His mother still refuses to accept "that shopworn woman".

This is a rather simple and weak romance. The guy is stiff and his character is lacking. He is nothing special but she is another story. A young Barbara Stanwyck is starting to gain traction and one can see the reason. She has amazing screen presence and a powerful personality. She's a rising star and overpowers her acting partner. She is something to behold.

Shopworn (1932)

** 1/2 (out of 4)

Barbara Stanwyck plays Kitty Lane, a poor waitress who one days meets David Livingston (Regis Toomey) who is of course rich and comes from a respectable family. The two fall in love and decide to get married but his rather evil mother (Clara Blandick) will stop at nothing to keep them apart. Thinking he has left her, Kitty goes out to make something of herself. SHOPWORN is pretty predictable from start to finish but the attractive cast makes the film worth sitting through and especially since it runs a very fast 68-minutes. There's no question that the screenplay could have used a little work because everything that happens seems rather predictable and unoriginal even for 1932 standards. The poor girl being looked down upon by rich people is something we've seen many times and there's really nothing new done with it here. Even what happens to the character after she becomes famous is pretty standard stuff. What keeps the film moving along so well are the performances and especially the one from Stanwyck. She delivers a really well rounded performance as she perfectly nails both the tough and tender side of the character. Toomey is also quite good as the love interest and there's no question that Blandick does a very good job as the snake-hissing villain. Zasu Pitts is wasted in a supporting role but she's got one funny scene towards the start of the picture. The ending is one you'll see coming from a mile away and at times it gets so silly that I couldn't help but laugh but there's still enough going on here to make it worth viewing.

This is a pretty ordinary little film about a young waitress (Barbara Stanwyck) who falls in love with a wealthy college student (Regis Toomey) who will go on to become a doctor, and how his mother strives to break up their relationship. I rounded it up a bit because of Stanwyck's performance; she is such a natural and has a couple of great scenes. I also liked how she was such a strong woman - her character was toughened by her father's death, and she stands up to unwanted advances while waitressing, endures being sent away to a woman's reformatory on morality charges, and tells Toomey off when he returns to her after she's made it as a dancer. Being committed for trumped up morality reasons is outrageous today, but it was reality then, and the mother had also considered getting her committed to an asylum, a real practice stemming from the 19th century. If you don't like 'em or they're threatening in some way, lock 'em up. The ending is unfortunately a little dippy, but you could do worse than watch this one, and it's almost entirely due to Stanywck.

One of the great scenes has her throwing money in a guy's face after he tries to bribe her into leaving town to get her out of Toomey's life: "What are you trying to make of me - what you wish I was? Something cheap and common, something that money can buy? Well, you can't. Nobody can! You and the nice, decent people who sent you here are the real cheap ones, trying to put a price on something there isn't any price for! If that's being decent, I'm glad I'm common! If that's being rich, I'm glad I'm cheap, and I'm gonna stay cheap! Because no matter how cheap I am, I'm not for sale!"

I'm surprised no one has reviewed this at all. Well, Barbara Stanwyck made a whole lot of movies, and this one is OK. It's got Zasu Pitts and the usual suspects. Barabara Stanwyck plays a flirty waitress in a college town who takes up with a young lad from an upper class family. Interesting to see how mores have changed. Lots of golly gee lines in this one, lots of upper class snobbery. Truly a different world. In this movie at least Barbara S. doesn't play a total trollop, like Mexicali Rose. In this one she becomes a successful actress, although on the riske side. It's not clear from the film if she went from burlesque to legit, but something along those lines. Interesting flick.

This fast-moving film features Barbara Stanwyck in her early period when she usually played a tough, lower-class dame with a hot temper who stands fast to her principles. This character is virtually identical to the ones she played in NIGHT NURSE, LADIES THEY TALK ABOUT and BABY FACE. Here she is a waitress who falls in love with a rather bland medical student (Regis Toomey) whose nasty and snobbish mother (an excellent and truly scary Clara Blandick) schemes with a corrupt judge (Oscar Apfel) to separate the young lovers by sending Stanwyck to one of those reformatories that pop up so frequently in films of this era. The ever-fluttery Zasu Pitts is on hand as Stanwyck's aunt - what a comedown from GREED.

In one scene Stanwyck, trying to memorize the dictionary as a means of self improvement, shows her suitor a list of words beginning with the letter "e" which she has written down. He reads them aloud, stops after "ejaculate," looks at her with some curiosity and says that even he would never use such a word. That moment immediately pigeonholes this film as pre-Code. The scene continues artfully with one-word exchanges all starting with the letter "e." Later, while Lucien Littlefeld is conversing about the Stanwyck-Toomey relationship with Oscar Apfel, a couple of lines are very clumsily overdubbed by other actors. Makes one wonder what was actually said. Late in the film there is an imaginative banquet scene in which the camera carefully pans the length of a dining table highlighting the place cards (each a little paper doll inscribed with a guest's name) while the corresponding but off-screen voices converse on the soundtrack; then the camera moves back to reveal the whole table and all of the people we have been listening to. The yard between the diner where Stanwyck works and the house where the owners live is well depicted: tattered laundry hanging on a line, overflowing garbage cans and kittens playing.

The screenwriter Robert Riskin contributes some snappy and witty dialogue. He worked quite frequently with Frank Capra, penning the scripts for IT HAPPENED ONE NIGHT, MEET JOHN DOE, LADY FOR A DAY and MR. DEEDS GOES TO TOWN, among others. All of these films address the issue of "decency" – what truly constitutes decency? Saying you are decent or actually being decent?