Year: 1926

Director: Frank Tuttle

Cast: Louise Brooks, Evelyn Brent, Lawrence Gray, Arthur Donaldson

Movies like Love ‘Em and Leave ‘Em would be lost forever in the bin of forgotten films if not for memorable performances like Louise Brooks’ Janie Walsh. This role can almost be thought of the American version of Lulu. Janie is a 1920s flapper, free-loving and completely narcissistic. On the other end of the spectrum is her older sister Mame — played by Evelyn Brent. The elder Walsh is shy, conservative, and responsible. The girls are orphans and on their mother’s deathbed, Mame promised to always look after her sibling no matter what. That oath is what triggers most of the plot.

The Walsh sisters work in a department store in downtown New York City. Mame helps her boyfriend Bill (Lawrence Gray) with dressing the display windows. We don’t much care for Bill from the start as he’s fond of taking credit for all of Mame’s great ideas when they’re acknowledged by management. The department store is sponsoring a Charleston dance on Saturday night and Janie is charged w/ collecting dues. Miss Walsh never met a dance party she didn’t like but trustworthy with finances she’s not. Before long she is using the funds to gamble on the ponies via a neighbor named Lem (Osgood Perkins aka Anthony’s pop).

Mame’s relationship with Bill has escalated to the point where he is proposing marriage. She has earned a week of vacation and wants to get away to ponder the prospect of matrimony. Knowing no shame, while sis is out of town Janie brazenly seduces Bill. The best sequence in the picture has Brooks’ looking more beautiful than ever. Sporting a stunningly tight black satin gown, Janie’s allure is impossible for men to ignore and Gray’s character is no exception. When Miss Walsh adjusts herself between two pillows on the couch, the come hither call is unmistakable. There’s a great gag when Bill initially rejects her and turns away. Janie splashes water from a nearby fishbowl on her eyes to simulate crying over the snub and he becomes powerless to resist.

When Mame comes home early and all excited to tell Gray’s character that she accepts, she finds out that her good-for-nothing little sister has been knocking boots with Bill in her absence. The only thing keeping Mame from throwing Janie out is her promise. But their relationship has been put in deep freeze mode. As if to see how much more she is capable of screwing up, Janie puts the remainder of the membership dues on another horse. Amazingly, the nag wins and she confronts Lem about the $100 win. He gives her back the $20 she wagered and apologizes for not getting the bet down in time. Yeah right. When Saturday rolls around and she’s left with empty pockets, our protagonist turns to that last beacon of hope: Mame. Unbelievably, Janie’s wiles still work on her sister and when Mame hears what that cheat of a neighbor has done, she sets out for his apartment to settle all accounts. This could get ugly.

The part of Mame must have been one of the most thankless roles Brent ever played. Who on earth wants to be a female co-star next to the iconic Brooks in a movie that serves as a showcase for her great beauty? Frank Tuttle was a great admirer of his leading lady. He never told his star that her part was supposed to be comedic, so she played it straight. The director got exactly what he was after. To say the camera is infatuated with Brooks during Love ‘Em and Leave ‘Em is to understate the case. Both the aforementioned dress and the getup she takes to her dance (white top hat, short black skirt, stockings, and high heels) are the highlights of the picture. I am dumbstruck by Brooks’ critics who claim that “she doesn’t do anything.” The fabulous actress had one of the most expressive grills ever and in that space from the top of her head to the nape of her neck lies one of the most effective instruments in cinema history.

By James White

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