SnoReptilePlenty Memorable, crazy movie

Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Orla Zuniga It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Sanjeev Waters A movie that not only functions as a solid scarefest but a razor-sharp satire.

vert001 PROFESSIONAL SWEETHEART manages indirectly to be a historically important film of sorts. Flashy supporting roles in 42nd STREET and THE GOLD DIGGERS OF 1933 had brought Ginger Rogers to the attention of Hollywood, and Columbia and RKO at least were seriously thinking of signing her to a long term contract (most of her recent work had been done for Warner Brothers but they may have believed that, with Joan Blondell and Glenda Farrell among others already in their fold, there was little room left for a Ginger Rogers). RKO wound up inking her to a 3 film deal which amounted to one film plus a two film option at RKO's discretion. Thus PROFESSIONAL SWEETHEART served as an elaborate screen test for Rogers. It was a modest success both critically and at the box office (which was more than most 1933 films could say) and RKO signed her to a full 7 year contract. Ginger's first assignment under that contract was FLYING DOWN TO RIO and the rest was history.PROFESSIONAL SWEETHEART is a clear sign that RKO was very serious about Ginger Rogers. It's a pure vehicle for her comedic abilities, seen here as more 'hard sell' than they would be later on, and she's given every bit of support that could be realistically expected: A funny, sharp, broadly satirical script from the talented Maurine Watkins of CHICAGO fame, a terrific pack of supporting actors mostly imported from Warner Brothers, and about the best house director that RKO had (William Seiter) were assigned to the project. Ginger already had considerable experience as a supporting actress in big pictures and as a female lead in little pictures, but this was her first starring vehicle, and she makes the most of it.I'll refrain from running through the plot (if you're reading this surely you already know it) and restrict myself to a few observations. The chasm between a public persona and a private one is the obvious main theme, Glory's radio shtick as "the Purity Girl" being diametrically opposed to her portrayed private desires (a girl who wants to have 'fun fun fun', essentially). As in CHICAGO, the press can hardly be more cynical about it all while agreeably playing along with the act. Whether the public is actually fooled by this or is merely willing to tolerate the deceptions for its own amusement remains uncertain. This appears to be Watkins' One Big Idea, and she runs with it.Otherwise we get a broad satire of radio's inherent deceits, for example, audiences coached on their 'spontaneous' reactions; a nice skewering of the Progressive Eugenics Movement ("Hey, they're white, these Anglo-Saxons!" our naive business magnate from the Old Country notes in surprise); Harlem as a modern jazz-filled Valhalla ("I don't care what color he is as long as he takes me to Harlem!" Glory beams with a racial double entendre), barbed comments on lawyers, clothes designers doubling as interior decorators, business tycoons whose empires consist of washcloths and dishrags, the full gamut. Gregory Ratoff strikes me as very funny as the genius behind Ippsey- Wippsey Washcloths, ZaSu Pitts is excellent as a 'sob sister' whose interview style consists of her own meandering monologues, Franklin Pangborn, Allen Jenkins, Edgar Kennedy and Frank McHugh are solid in their roles, and Theresa Harris has a more substantial part than is usual for a black maid of the era (oddly, both she and Ginger Rogers, both competent singers in their own rights, get dubbed by Etta Moten). Norman Foster does what he needs to do as the country hick.And Ginger Rogers was on her way.

dougdoepke Amusing rather than funny, the programmer makes good use of a budding Ginger Rogers as radio's Purity Girl. And, boy, her image better stay "pure" otherwise the nitwit sponsors of her radio show will make life miserable. Already they rule over what she can do and not do, and that means absolutely no men. But Ginger (Glory Eden-- catch that loaded name) being Ginger, she rebels, proving that hormones won't be denied. Picking a man's name at random from her many fans, she comes up with a Kentucky hayseed, who proves to be a lot more than she bargained for.Note how the screenplay refuses to make fun of the simple Kentucky life Glory settles into with new husband Jim (Foster). There she seems quite content being a dutiful housewife, even after the sophistication of the big city. Maybe that's not too plausible, but at least rural audiences are not offended. Besides, Jim shows a deeper understanding by insisting she act out her talent by returning to the city with him in tow. Because of feuding sponsors, she gets her old show back, but this time with a husband and minus the "purity" burden. Now she can be herself.If there's a message, it's that only artificial constructs like the Purity Girl are unrewarding. On the other hand, life in the city or in the sticks can be equally rewarding as long as it's a natural fit for the person. It's interesting, at the same time, to gage the movie's attitude toward uptown Harlem. With its exotic rhythms and sounds, Harlem comes off as an ambiguous place for a white person, especially for Glory who seems naturally attracted. Anyway, Rogers makes the whole movie come alive, along with a humorous supporting cast that includes some pretty undisguised gay types. On the other hand, Foster's pretty stiff in his role, but I expect he's supposed to be. All in all, the visuals may creak a bit, but the pre- Code movie's still an amusing jape with a rather thoughtful subtext.

blanche-2 Ginger Rogers stars in "Professional Sweetheart," a 1933 film that also stars Norman Foster, Allen Jenkins, Gregory Ratoff, Franklin Pangborn, Theresa Harris, and Frank McHugh. Rogers plays Glory Eden, radio's Purity Girl, representing Ippsie Wipsie Washcloths. As the Purity Girl, Glory can't be anything but pure. Glory finds this annoying. All she's interested in is drinking, smoking, going to Harlem, wearing sexy clothes, and, if one reads between the lines, losing her virginity.Her handlers decide to fix her up with a pure Anglo-Saxon, found in the Kentucky Mountains. They choose a nice-looking fan (Norman Foster) and set the two up, even having a wedding on the air. Knowing of her discontent, Kelsey Dish Rags is after her, too, and know she hasn't re-signed with Ippsie yet. The two engage in battle, and find there's a third party involved - Glory's new hubby, who takes Glory at her word about wanting to live in a Kentucky cabin and have a cow.This is a cute film that could have been lots better, but the script isn't great and the pace drags a bit. Rogers is adorable, funny and sexy. Theresa Harris plays her maid, Vera, and is apparently uncredited, but she has a decent-sized, showy role.As far as the film being pre-code, don't look for anything too racy. There is only some innuendo and Rogers in her skivvies.Okay film, nothing special.

MartinHafer Despite this film having one of the more amazing groups of character actors for support, this is truly an awful film. It just goes to show you that no matter what talent you have assembled, it means nothing if the writing is bad--and boy, is it BAD! Even the combined supporting talents of Frank McHugh, Allen Jenkins, Akim Tamiroff, Franklin Pangborn, Edgar Kennedy, Sterling Holloway and others couldn't help Ginger Rogers elevate this mess to even mediocrity. The bottom line is the basic plot isn't at all believable and the dialog isn't any better. Normally when I watch older films, I am able to suspend disbelief and just enjoy, but this time it was a major chore not to just turn the movie off about midway through it! Ginger plays a radio star who is portrayed as so saccharine that it's impossible to believe that the public could stand her, though according to the film she's America's Sweetheart! Well, Ginger rebels against this as well, but her answer is to hang out in nightclubs and get drunk AND have sex (it's a "Pre-Code" film, so this sort of subject was NOT taboo in 1933). It's all very broadly acted and written and is supposed to be a sort of screwball comedy--the problem is that none of it is funny. What happens next and how everyone becomes happy in the end isn't really anything I want to discuss--I just want to never see this film again. It's a good thing Ms. Rogers had the Fred Astaire films to boost her career--if it was up to drivel like this, she never would have become famous!