These pre-code women's films are fun to watch, smoothly produced, given handsome production values and luminous close-ups of youthful, innocent looking LORETTA YOUNG (more beautiful as a blonde ingenue than she appeared in the '40s). She gets sturdy support from GEORGE BRENT as the doctor who shares a romantic interest in her with David MANNERS, a married man who admits loving Loretta up until the last reel. For comedy relief, UNA MERKEL has her usual supporting role (she was the Jane Wyman of supporting roles, always the heroine's best friend, throughout the '30s).
The story has an ambitious young rehearsal pianist and songwriter getting involved with shady showman LOUIS CALHERN and toying with the affections of Brent and Manners while Calhern wants her to be his mistress. The predictable ending has Loretta winding up with Brent and sending Manners back to his wife. ("You can't build happiness on another's unhappiness", she tells him).
It's the kind of fare that audiences during the Depression era probably fancied. Watching it, it's easy to see why Loretta Young was such a capable beauty, already quite a professional by the time she made this soaper.
Summing up: A pleasant trifle, easily forgotten.
The story has an ambitious young rehearsal pianist and songwriter getting involved with shady showman LOUIS CALHERN and toying with the affections of Brent and Manners while Calhern wants her to be his mistress. The predictable ending has Loretta winding up with Brent and sending Manners back to his wife. ("You can't build happiness on another's unhappiness", she tells him).
It's the kind of fare that audiences during the Depression era probably fancied. Watching it, it's easy to see why Loretta Young was such a capable beauty, already quite a professional by the time she made this soaper.
Summing up: A pleasant trifle, easily forgotten.