It’s a pretty tough time money-wise for a lot of people. Unemployment rates are rising, people are getting laid off and losing money left and right. Right now, we’re in recession. But there are a lot of people worried that we’ll soon be in a depression.

This, of course, would not be the first depression. The Great Depression in the 1930s was one of the bleakest times in history. But hey, it produced some great films. Especially some great films set during the Depression. So maybe we should take some tips from these movies on how to get through these rough times.

Tip #1: Find a rich man to keep you
See: Bed of Roses, The Easiest Way, Our Blushing Brides, Possessed
You’re down on your luck. You’re a girl living in a poor neighborhood, you either can’t find a job or you have a really crappy one. But you’re damn pretty, and with the right dress and hair, you could look damn classy.

And hey, here’s a handsome (hopefully) rich guy who likes you. Really likes you. You’re one of the lucky ones now. He like you so much he wants to set you up in a nice apartment so he doesn’t have to go to the bed part of town to see you. Of course he doesn’t want to marry you. He may already be married, or the idea of marriage just doesn’t interest him. But that’s probably a good thing. Why ruin something so simple with marriage?

Now you have a fancy apartment to yourself, an bottomless bank account, and you get to rub elbows with all of your man’s high class friends.

And hey, this is the 21st century. There are plenty of rich, powerful women, so it’s completely possible for a man to find himself a cushy situation like this.

Be careful, though. These situations don’t always end happily. Unfortunately for Constance Bennett in The Easiest Way, she lost the man she really loved when she couldn’t resist the life of luxery. And don’t go thinking this guy’s going to marry you. That idea turned out not too well for Anita Page in Our Blushing Brides.

Of course, you could get Joan Crawford-in-Possessed lucky, attract a handsome rich guy like Clark Gable, fall in love with him, and then have the good fortune of him falling in love with you.

Tip #2: Find a rich man (or woman) to marry you.
See: Red Headed Woman, Mannequin, Platinum Blond
You’re situation is probably pretty similar to the one above. However, finding a rich man to marry you might be a littler tougher than finding a rich man to keep you. Marrying a poor girl takes on some more social implications than just keeping her in a nice apartment and buying her stuff.

So you may have to resort to complete bitchery. Like Jean Harlow in Red Headed Woman. Easily one of the biggest bitches to ever hit the big screen, she did every single thing she had to do to get her rich boss to marry her. Even though he was already married.  Sure, the marriage was absolutely miserable, but she had all the money she wanted.

You may get lucky, though, and find a rich guy who’s just plain infatuated with you, like Joan Crawford found Spencer Tracy in Frank Borzage’s Mannequin. Sure, she didn’t love him at first. But there’s a lesson there in itself. Love will eventually grow.

Of course, it’s entirely possible for a man to marry a wealthy woman. It just doesn’t usually take much scheming. According to Platinum Blond, heiresses like to take on poor, unsophisticated men to see if they can change them. Just for fun. So all you boys have to do is be unsophisticated and put yourself in front of some rich chicks. But, seriously, if you’ve got someone as cute as Loretta Young already in love with you, save yourself the trouble.

Tip #3: Use sex in the workplace
See: Baby Face
The last two options were good options. But of course, you’re a modern woman. Maybe you don’t want to be married or kept. Maybe you’ll only feel complete if you’re working.

Yes, these days it is much, much easier to climb the corporate ladder for women than it was in the 1930s. But it’s still not the easiest thing in the world. Especially right now, when some people are having a hard time finding a job.

So if there’s any time when you shouldn’t feel ashamed to get on your back to get up the ladder, it’s now. You should always use what god gave you. And if he happened to give you some good looks and a fair amount of sex appeal, you should use it.

Just be careful. In Baby Face, Stanwyck got into a few sticky situations doing this very thing. Try to keep the amount of men with whom you exchange sexual favors to a minimum to avoid that.

Tip #4: Crime pays…. to a point
See: Little Caesar, The Public Enemy, Angels With Dirty Faces, Scarface
During the Depression, gangsters were almost treated as heroes in film (and even outside of it). Life was tough. The world, the country, fate, God… these things had taken everything from people. And the gangsters were the ones rebelling against that and taking it back. By any means possible. Sure, they were doing bad things. But they were getting the money they wanted. And in times like these, sometimes that seems like the most important thing.

Without fail, whether it’s Cagney in The Public Enemy and Angels With Dirty Faces, Edward G. Robinson in Little Caesar, or Paul Muni in Scarface, things always go amazingly well for these guys for some time. They climb the ranks and live very comfortably.

So yeah, a life of crime is always going to be dangerous. But unlike the guys in these movies, be smart. Don’t want to much. Once you get to a certain point where you’re living comfortably, let it be. Don’t try to get any higher. And for the love of god, don’t try to take over the organization. That’s the kind of shit that gets you killed.

Tip #5: Turn to prostitution
See: Faitless, Anna Christie, Midnight Mary
Now things are seriously bad. You can’t find a job at all. And the idea of marrying or being kept by a rich man isn’t happening (maybe you just can’t find one, or maybe you’re so much in love with someone poor you can’t bring yourself to leave them). You have no choice. You must turn to prostitution.

Sure, it’s probably the least dignified thing on this list. But when you’re desperate, you’re desperate. You gotta eat. You gotta keep a roof over your head. And maybe like Tallulah Bankhead in Faithless, you have to find some way to pay for your husband’s medication. She got lucky, though. When husband Robert Montgomery found out that she was a prostitute, he was moved by her sacrifice.

Tip #6: Split a nice apartment with some pals
See: Ladies In Love, Beauty For Sale, The Greeks Had a Word For Them, Our Blushing Brides
Probably the easiest option so far. You’re single, you don’t have a lot of money. But you do have two good friends who are in the same situation. So how much easier would it be on all of you to split an apartment!

This can be done just for necessity’s sake, as it was for Joan Crawford, Anita Page, and Dorothy Sebastian in Our Blushing Brides, and Madge Evans, Una Merkel, and Florine McKinney in Beauty For Sale.

But you can also do the three way split in a fancier way. It might require a bit more money, but getting a nicer apartment in a better part of town with three friends could be a bit of a confidence booster, which is always needed in times like these. In Ladies in Love and The Greeks Had a Word For Them, three single ladies (Constance Bennett, Janet Gaynor, and Loretta Young in Ladies, Madge Evans, Joan Blondell, and Ina Claire in Greeks) split nice aparments in nice neighborhoods to make themselves look classier and like they have more money, presumable to attract wealthy men.

Tip #7: Embrace your poverty and realize that love is ultimately what matters
See: Bad Girl, Man’s Castle
Yes, times are indeed tough for you. But they’re tough for most people.

Not everyone loves the idea of trying to find a rich person to take care of them, or turning to crime, or getting on their backs. So they just accepts their circumstances. And sometimes they’re really lucky, because they might have love in their life.

Tenement life blows, obviously. But if you have a husband or wife that you love very much, and a baby on the way, like Sally Eilers and James Dunn in Bad Girl, that becomes more important than everything else, even if there are some bumps along the way.

Even worse than tenement life was life in the Hoovervilles, where families lived in little more than tiny shacks. No matter how bad a living situation might be, look on the bright side like Loretta Young in Man’s Castle does. At least she has a place to live. Add to that the fact that she’s in a (somewhat complicated, admittedly) relationship with Spencer Tracy. Life is difficult, but Borzage films the movie almost like a fairy tale. Their love is so powerful, it can make a little shack seem like a castle.

There you go. Seven tips from the classics on how to get through these tough times.

I’d love it to here any tips you guys can come up with from watching 1930s films!

By Katie Richardson

Hot damn, I love Christmas. The snow, the lights, the songs, the presents. Especially the presents.

I got the best gift last night at about 6 pm when our power, which had been out since Friday, came back on. But that’s not classic movie related, so let’s move on.

I happen to be getting the one thing I wanted most this year, the Murnau, Borzage, and Fox DVD set with a bazillion movies and books. I know I’m getting. It’s the only thing I asked for. And I ordered it myself. With my mom’s credit card. So, technically it’s a present from her. That I bought myself.

The DVD set might be the most beautiful thing I’ve ever seen. From Murnau, it has Sunrise and City Girl. From Borzage, it has Seventh Heaven, Street Angel, Lazybones, Lucky Star, They Had to See Paris, Liliom, Song o’ My Heart, Bad Girl, After Tomorrow, Young America. It also has a documentary. And on those DVDs is also a reconstruction of Murnau’s 4 Devils and the surviving footage of Borzage’s The River. AND it comes with two books. My god.

Really, that’s all I want. I know I’m getting other stuff, because my mom has the guilt thing where she thinks we need to have a bazillion presents under the tree. But that’s all I want.

But…. in the hypothetical Christmas list…. I got one wish this year already when TCM finally aired Man’s Castle. Now I want it on DVD. Special edition DVD. With extras and commentaries (hey… I could do the commentary… just sayin’….) Maybe a Criterion release….

Christmas is also about more than presents. It’s also about Christmas movies. I adore Christmas movies. There are the old favorites. A Christmas Story, Muppet Christmas Carol. But there are those lesser known pieces of lovely.

We discussed Bachelor Mother on the Christmas podcast. Ginger Rogers give an excellent performance opposite David Niven and an adorable baby. It draws some parallels to the story of the virgin birth, so it’s kind of a Christmas movie more in theme then in time setting (though it does take place during the holiday season).

Another Ginger Rogers Christmas movie, I’ll Be Seeing You, is a little darker in tone, but it’s a really beautiful movie. Rogers plays a convict on furlough for Christmas, and Joseph Cotten plays a soldier suffering from post traumatic stress. They meet, and mend their broken spirits together over the holiday season.

Finally, I love the hell out of the Barbara Stanwyck/Fred MacMurray film Remember the Night. It is technically a comedy, but like I’ll Be Seeing You, it’s more serious in tone. Stanwyck and MacMurray shared such steamy chemistry in Double Indemnity, and their chemistry translates very sweetly to this film.

So, if you have time tonight and tomorrow, seek these movies out. They’re really great for the holiday season. Have a great Christmas!

Today in film, like in regular life, pregnancy is no big deal. There are pregnant characters in film all the time. Movies about being pregnant, movies about giving birth, movies about having a new baby. In this day and age, “which actress is pregnant now?” talk is the most popular type of gossip you can find in the rags.

But back in the earlier days of film, having a baby apparently wasn’t so commonplace. The word “pregnant” was never uttered on screen. In the cases it was a happy thing, they would just say that they were “having a baby”. In unhappy cases, films usually allowed the shocked, uncomfortable silence tell the story.

And women NEVER showed. Apparently, back in the 1930s, babies didn’t actually grow in utero. They must have been like those toys that get bigger as you add water, only with 1930s babies you added air and as soon as they were delivered they ballooned into a regular sized infant.

In pre-code film, there were a lot of cases of women having babies or getting pregnant before marriage. These were usually portrayed as unhappy situations, but sometimes the woman was still able to raise the child happilly. After enforcement of the code began, it seemed like it wasn’t even possible to conceive a child out of wedlock. It was quite awhile before women were allowed to have children outside of happy marriages, and even then, in most cases, they were still married. They had just separated from their husbands.

Yes, pregnancy in classic film is a strange thing. Here are some films with notable, baffling pregnancies.

Mary Pickford isn’t pregnant in Tess of the Storm Country, but she vows to help out a woman who is. Pickford falls in love with the wealthy Lloyd Hughes, whose sister becomes pregnant. Before she can marry the father of her child, he’s killed. So Pickford takes pity on the poor woman, helps her through the pregnancy, and then takes care of the child.

This pregnancy is a classic example of the shame that came along with having a baby out of wedlock. To protect her friend, Pickford allows people to think the child is hers, even risking her relationship with the man she loves. And in those days, a sin like this had to have punishment, and in the end the child dies.

In Bad Girl, Sally Eilers and James Dunn are young lovers during the Depression who marry quickly after meeting and struggle financially, especially once Eilers finds out she’s pregnant. Director Frank Borzage creates a really interesting and intimate drama between these characters based  almost entirely around the pregnancy. Both characters have a hard time handling the idea that they’re going to be parents, and both of them thing that the other doesn’t want the baby.

Eilers becomes pregnant early in the movie, and it’s a very prominent plot point in the film. But she never shows and it’s difficult to keep track of how far along she is until the baby is born. But Borzage’s look at the anxieties and uncertainty of being parents for the first time was a rare look at pregnancy in classic film.

Life Begins is a film all about pregnancy. Hence the title. Loretta Young plays a young married woman who is in jail for murder. She’s also pregnant, and is apparently far enough along that she must be admitted to the maternity ward of a hospital (you’d never know she was that far along, though). It’s there that she meets a whole bunch of other pregnant women, all very different, including brassy showgirl Glenda Farrell.

It’s a very moving film with a lot of top notch performances, but it’s also a really interesting look at the way hospitals worked back then. It’s movies like these that really give you a glimpse into a world that no longer exists. It’s just so strange and baffling the way things were done. First of all, the fact that pregnant women had to be admitted to the hospital months before he due date. Husbands were only allowed to visit their wives at the hospital for an hour or two a day. There were no private rooms for the women.They all had a bed in a large single room. And the husbands weren’t even allowed to be in the delivery room. It’s just such a strange look back.

Pregnancy isn’t the main theme in Beauty For Sale. This is one of those cases where it’s never implicitly stated, just silently and shamefully suggested. The story revolve around the romantic troubles of three friends, and troubles of Florence McKinney is the saddest of all. She’s in love with the boss’s son, having a clandestine affair. When she frantically tries to convince him to marry her, it’s made clear, without words, that she’s pregnant. He promises to marry her, but abandons her the night before the wedding, leaving the country. It’s a small part of the movie, but it’s certainly the most tragic, and Florine McKinney delivers a really fantastic performance.

Beauty For Sale is another example of the “secret shame” pregnancy story lines. The film is full of pre-code goodness, and it balances the lighter side of those ideas (gold digging, whee!) with the darker side (McKinney’s pregnancy) extremely well. The idea is that being pregnant before marriage is so horrible it can’t even be spoken aloud, only alluded to. While it’s wonderfully pre-code, it still takes on the idea that those who sin must be punished (or at least the women who sin), and McKinney’s character meets a tragic fate.

It’s pretty much a rule that I have to write about Man’s Castle at least once a week here, so here we are, filling that quota. It’s one of the most lenient of pre-code films. Spencer Tracy and Loretta Young live together in their Hoovershack, clearly sharing a bed and having a sexual relationship, without being married. Young becomes pregnant. While the revelation comes somewhat late in the film, it’s the main conflict point in the film. And, refreshingly, the conflict has absolutely nothing to do with societal norms and expectations. Frank Borzage couldn’t care less about the social implications of an illegitimate child on these people – it’s hardly the worst thing that’s happening in the world at the time. The conflict is completely between Bill and Trina and what the baby does to their relationship.

It looks like they’re caving to societal expectations by getting married. But as with most Borzage weddings, it doesn’t seem to be a legally binding ceremony. It’s performed by a man who is no longer a minister, with no legal documents being signed. The marriage is completely spiritual (and isn’t even really consummated as such until later in the film when Bill realizes he wants to stay with Trina). In Man’s Castle, pregnancy is not a plot point to shock or hold a mirror up to society. It’s simply a driving force for two characters. While initially it looks like it’s going to drive them apart, the pregnancy just brings them closer together. And we’re given something of Christ-story correlation, when Bill does the math and figures out the baby will be born in December. “Sort of a Christmas present, huh, Bill?” Trina says.

Men In White has perhaps the most controversial use of pregnancy in pre-code film. Clark Gable plays a doctor who is engaged to Myrna Loy. When the couple has an argument, Gable has a one-night stand with Elizabeth Allen. She becomes pregnant, and instead of having the baby or even telling Gable, she has a back alley abortion. The procedure is botched, and she’s admitted to the hospital to repair the damage, where Gable finds out that she had been pregnant with his child.

Even in pre-code, the topic had to be handled delicately. The one stand is only implied, with a discreet fade out. The abortion is never calle as such. They dance around it in their dialogue:

“Ruptured appendix?”
“Worst than that.”
“……..why didn’t she come to us?”

But from their behavior, it’s clear what has happened. Men In White is one of the most daring pre-code films.
 

When Kitty Foyle was made in 1940, the code was still being strictly enforced. So Ginger Rogers, in the title role, becomes pregnant while she is still marriage to her husband, Dennis Morgan. But she doesn’t find out she’s pregnant until they’ve separated. This is one of the many ways films made during enforcement worked around the code and bent the rules. Rogers was no longer with her husband, she was single woman, but she had committed no sin since they had been married when the baby was conceived.

However, she still plans on raising the child as a single mother. The pregnancy moves quickly, and is not a major part of the story. The baby dies, which is an important part of the formation of Kitty Foyle’s character.

With it being such a rare thing in classic film (as opposed to today), pregnancy in film was always a major plot point. Either it was used to shock the audiences or drive the story further. 

 

By Katie Richardson

Cast: Spencer Tracy, Loretta Young, Walter Connolly, Marjorie Rambeau, Glenda Farrell

I FINALLY got this movie up and loaded on to YouTube. So now nobody has any excuse. Everyone can watch this movie. I decided since it’s up there now, I might as well make it the YouTube Movie of the Week, to advertise the fact that it’s now happily available.

I have already written so much on this movie, so I figured I’d just link to some previous posts on the site…

https://obscureclassics.wordpress.com/2008/04/24/heroines-in-film-trina-from-mans-castle/

https://obscureclassics.wordpress.com/2008/02/18/mans-castle-frank-borzage-1933/

And as soon as you’ve watched it, go to our podcasts page and take a listen to our Man’s Castle podcast.

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7

As you all know from my last post, my brother is getting married tomorrow. I actually have time to myself this morning (amazingly) so I wanted to take some time to talk about weddings in movies.

Carefree
One of Fred and Ginger’s most unique films revolves all around getting married. Fred is a psychologist who’s best friend, Ralph Bellamy, wants to marry Ginger, but she’s too indecisive to decide if she wants to marry him or not. Ralph brings her to see Fred to try to get her aversion to marriage worked out, and she ends up falling in love with him instead.

There are a lot of differences in this film from usual Fred and Ginger romances. For one, Fred doesn’t play a dancer. The romance follows a more traditional and conventional romantic comedy formula (which, for a Fred and Ginger movie, was not traditional or conventional). There are also so very funny moments involving psycholanalysis and hypnosis. The wedding comes at the very end, but you’ll never forget Ginger walking down the aisle with a shiner.

The Palm Beach Story
The Palm Beach Story is really about weddings (though it is an excellent film about marriage), but it has one of the greatest wedding scenes of all time. It takes place in the opening credits, and doesn’t even make much sense until later in the film, but it’s a great example of screwball filmmaking. It was also one the most unique opening title sequences ever. And, of course, you get to look at Joel McCrea. And that never hurt anyone.

I Married a Witch
I Married a Witch has both a great wedding scene and a great wedding night scene. But not with the same bride. The wedding scene, in which Fredric March is supposed to marry Susan Hayward, is hysterical. Veronica Lake is waiting upstairs, and the wedding keeps starting and stopping, with March running upstairs. Add to the fact the the wonderful Cecil Kellaway is there as Lake’s father trying to sabotage their relationship, and Robert Benchley being all awkward and bumbling.

Then there’s the wedding night, after he’s ditched Hayward at the alter and married Lake. It’s just a simple, sweet, romantic scene between the pair. They had a lot of chemistry, and this scene just shows it

Man’s Castle
You didn’t think I’d write about weddings without mentioning this movie, did you? It’s definitely different in tone than the other movies I’ve talked about. Bill marries Trina out of obligation (though he really does love her) when he discovers she’s pregnant. And she knows it. It’s such an oddly done scene, almost sad, as both of them look miserable. Not because they’re getting married, but because of the reasons. Like so many Borzage weddings, it bucks the traditional notions of a Church wedding, and they’re bound together more spiritually than legally. This is also done in other Borzage films, like Seventh Heaven and The Mortal Storm.

You might even say that, though the words were said, they aren’t truly married until after the wedding, after Bill tries to rob the toy store. He returns to Trina, and she patches up his wound. They make untraditional vows and promises to each other, and it’s much more a scene of unity than the wedding.

By Katie Richardson

Direct Download

Here’s the deal. After waiting forever to do so, TCM is FINALLY showing Man’s Castle. As you probably know from looking at this site, it’s my favorite movie. And Greg is fond of it as well. So we’re going to take the opportunity and devote an entire podcast to it. The podcast will be after the Montgomery one, so it will definitely not take place until after TCM has aired the film. Which gives all of you who have TCM the perfect opportunity to watch it. Both so that you can enjoy this great movie, and so you can actually listen to the podcast and understand what we’re talking about.

The films airs on August 31st at 11:30 pm.

Year: 1933

Director: Frank Borzage

Cast: Spencer Tracy, Loretta Young, Glenda Farrell, Marjorie Rambeau, Walter Connolly

This very old movie deals with timeless themes. Themes just as relevant today as they were 75 years ago when this film was released.

The story follows a young woman named Trina played by Loretta Young who has been out of work for a year. In her relatively ineffective attempts to find food and survive she encounters a peculiar man named Bill. His influence has a lasting effect on her.

It is a very simple movie really, but it transcends its own simplicity and actually ends up being more akin to a masterpiece thanks primarily to three major successes.

First, of course, is the script. This is a no nonsense script that was expertly created. It doesn’t attempt to be an epic or anything more then just a well crafted slice of life filled with very well written dialogue. A slice of life with a simple surface but deep explorations into humanity under the surface as well.

This dialogue wouldn’t mean much without the talents of some very fine actors. Both Loretta Young and Spencer Tracy bring these characters to life, effortlessly surmounting the 75 year old handicap that this movie has to struggle against to reach modern audiences. This films second major success is the excellent acting and timeless portrayals.

Lets start with Spencer Tracy. Bill is a character that is both self-assured and self-sufficient despite hard economic times. He is pure confidence and masculinity. He could also be considered immature and self-serving, but under the bravado is a lot of humanity. He doesn’t answer to anybody and he takes care of not only himself but looks out for those around him, despite the economic hardships of the era. He is tough, but at heart a kind person, a person who arguably has ran from life’s harsher realities and has been hardened by them simultaneously. At the same time he is still optimistic no matter how harsh the times have become, in fact he is always staring at the sky and listening to the passing trains, hoping for the best not only for himself but for those around him.

Spencer Tracy plays Bill masterfully. Watching him swagger around from scene to scene is delightful. Despite Bill’s big shoes, Spencer Tracy does a flawless job filling them and the end result is a perfectly played character that carries the film.

Well, maybe not carries the film. Loretta Young equally deserves the credit. Without her part and the understated manner in which she plays it the film would be nothing. Loretta Young, at just 20 years of age proves she is a force to be reckoned with as she plays this unforgettable character. Trina is a very interesting blend of wisdom, naivety and helplessness. She is completely dependent on Bill, and she is smart enough to let him be himself, to let him be his own man and not trap him. She knows that beggars can’t be choosers and she is quite literally a beggar. When he puts her down, disregards her and strays away she doesn’t judge, nor does she try to tame him. She is dependent on him and wise enough to know that attempts to shackle him would only drive him away. Trina is a pleasure to watch. In a world full of depression both emotionally and economically, she finds happiness in the little things and is a breath of fresh air in comparison to so many who both then and now seem plagued with pessimism. One wonders just how calculated her interactions with Bill are as the movie unfolds. Speculation concerning that question is part of what makes the film engaging and fascinating.

The third major success of Man’s Castle is the completely timeless theme which I hinted at earlier. This is a film as relevant now as it was then and the themes touched on will be relevant hundreds of years from now as well. Man’s Castle is largely about a man’s desire to roam about and be free. Man’s Castle is about the age old fear of commitment, as old as the male gender itself. As long as there are relationships involving men there will be the desire to avoid what is perceived as the bondage that comes with commitment and fidelity that is so foreign to the natural state of masculinity. This film portrays that struggle and the fear and the potential joy associated with giving in and embracing committed love.

This movie is also about finding happiness in reality. Life is unlikely to be as satisfying as the dreams of youth. One of the secrets to happiness it seems is finding satisfaction despite depressing circumstances. Certainly in the early 1930s there were plenty who did not learn that lesson and thankfully plenty who did. Man’s Castle isn’t the only story to teach us that happiness has more to do with attitude then circumstances, but it certainly is one of the more entertaining stories to teach that very valuable moral.

By Greg Dickson

Essential Pre-Code Films

Man’s Castle

Midnight Mary

Employees’ Entrance

Life Begins

Heroes For Sale

When people today think of Loretta Young, they usually think of the good Christian girl who starring in wholesome films like The Bishop’s Wife. But Loretta Young had been acting in films since the 1920s, and was actually one of the most active actresses of the pre-code era. She showed her fantastic range time and time again during the era, playing a wide variety of roles, from the good girl (Platinum Blond, Heroes for Sale) to the sexy bad girls (Midnight Mary, Born to Bad) to the girls in between (Employees’ Entrance, Life Begins).

Her angel face certainly allowed for her to play those good girl roles, but as with most pre-code films, morality wasn’t black and white, and those good girls weren’t always quite so good, just like the bad girls weren’t always quite so bad. She was a sweet girl getting ready to have a baby in Life Begins – but she was in prison for killing her boss. She was the seductive girlfriend of a gangster in Midnight Mary, but she was really just a victim of unfortunate circumstance.

And anybody who argues that good girl Young simply couldn’t be convincing as a bad girl have to watch Midnight Mary. It’s an extremely sexy performance, and Young pulls off the characters conflicted morality and cynical spirit with complete ease and talent. And then there’s the scene where she whispers naughty things into Ricardo Cortez’s ear. Yeah… an angel she was not.

That extended into her personal life as well. She wasn’t quite the pious soul she wanted everyone to think she was, as evidenced by her many affairs with her leading men, and the illegitimate child she had with Clark Gable.

Loretta Young was a much more fascinating actress that most people give her credit for.

By Katie Richardson

By Katie Richardson

Once I finish my Frank Borzage project over at Rotten Tomatoes (I’ve been procrastinating so badly. I work all day tomorrow, and if we’re slow enough, I’m just going to sit down and write as many of the final 8 essays as I can before close), I want to do a list of my favorite romantic pairings in classic film. I did a similar list a few years ago, but that was about the actors and their chemistry, not the characters and their stories, which what I want to focus on mostly for this upcoming list. I’ve been working on it, but I’ve been having a tough time with it. Here are some ones that I really like and will definitely hope for find room for on the list from some obscure classics. And I’d love any input from you guys on this topic.

Bill and Trina – Man’s Castle

Of course, the couple from my favorite movie. I could write a book on the relationship between Bill and Trina. I recently posted a small essay about Trina as a heroine that covered a good deal of their dynamic. Maybe once I finish the Borzage thread, and before I start the couples list, I’ll do an essay about Bill’s side of the relationship.

Letty and Mr. Sherwood – Beauty for Sale

The age difference, the class difference, the fact that he’s married – it all makes for a great love story between two people who meet by chance, become friends, and fall in love, all while knowing they can’t be together. It all leads up to a really rewarding and lovely finale.

Zack and Mary – I’ll Be Seeing You

The war changed the way a lot of romantic dramas were done. I’ll Be Seeing You was one of the first films to really deal with the negative effects the war had on the boys who were coming home. The relationship between Zack and Mary overcomes all the emotional damage that they’ve both endured.

Larry and Blondie – Blondie of the Follies

I have a big soft spot for these kinds of romances. Two characters who obviously love each other so much, but have a hard time being together because the relationship isn’t really in either of their natures and they’re never on the same page at the same time.