Lovable scoundrel Willie Hale may be bankrupt financially, but he has to choose between Myrna Loy and Loretta Young as the payoff! This whimsical melodrama is photographed by two of the great Cinematographers, Gregg Toland and George Barnes, and there are a few moments of self-assured compositions in this early sound film: one shot involves the camera mounted on a swing as the characters sway to-and-fro, while the deep focus catches Willie Hale approaching from behind. It’s a shot that lasts a few moments but it’s memorable. Unfortunately, the print I watched was interlaced and much of the perspective was lost in blurry background. The opening scene is captured in a long shot as our protagonist hilariously auctions off all of his belongings, not to the highest bidder but the one who offers the most practical value. Though the print is blurry I’m sure the original photography captured this in deep focus so we could see Ronald Colman instead of the vague silhouette. There are quite a few scenes where the boom-mike shadow is evident, so legendary DPs have a learning-curve too!
This minor melodrama is quite entertaining even though it’s like cotton candy and dissolves soon after ingesting. The most interesting aspect is that there is no antagonist, no character that is the cad or villain of the story, though Willie is most often misunderstood in his intentions. The friction is between Willie and his father, then Willie and his love interest(s), then Willie and his soon-to-be father-in-law. When he falls for the adorable Loretta Young, he has to break-off his relationship with Myrna Loy, but Loy’s character isn’t portrayed as a vamp or vengeful; she’s a perfectly normal well-adjusted woman. Young’s character comes across as a bit inexperienced (she’s only 17!) but accepts her own thoughtless assumption as wrongheaded and makes amends. But this is Colman’s film and though he is a rascal he is never cruel or unkind and imbues Willie with compassion and gentleness, even when he’s angry. The flaw may be that he’s too nice so it’s impossible to tell when Willie is truly hurt or angry or when he’s being facetious. Overall, a solid little melodrama that may not surprise but is a pleasant excursion into Pre-Code history.
Final Grade: (C+)