Linbeymusol Wonderful character development!

Cleveronix A different way of telling a story

Aedonerre I gave this film a 9 out of 10, because it was exactly what I expected it to be.

mraculeated The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

mark.waltz What is really remarkable about this pre-code drama from MGM is that it takes a typical depression era problem and shows the audience that issues are not always resolved, that not all so-called bad girls are really bad, and that survival sometimes means doing things that others will judge you ethically for paths that you had no other choice for chosing. This shows a typical large lower class family, waking up at the start of their day, and arguing over every little thing, from no butter at the breakfast table to who will need to get into the bathroom first. The arguments are silly, but then so is so much family interaction, and this extended sequence (with Clara Blandick and J. Farrell MacDonald as the gruff parents, and Constance Bennett, Anita Page and Jack Hanlon as their children) is so real that it is almost like a camera was planted in some real family's kitchen and followed them around as they went about their day. Bennett goes to work, is noticed by the boss (Adolph Menjou), becomes his "kept woman", then falls in love with the not yet successful Robert Montgomery. Even though Bennett sends her family money after moving out, they pretty much disown her for what they consider immoral behavior.Meanwhile, sister Page gets married to rough around the edges Clark Gable who sees Bennett outside the house at Christmas time and gives her the third degree for bringing shame to the family. Bennett, attending social events and swank parties, is torn between both true love with Montgomery and financial security with Menjou. Old acquaintance (and veteran kept woman) Marjorie Rambeau gives her hell for considering dumping Menjou for Montgomery. the script gives the audience the chance to see the conflict within Bennett's mind. She respects Menjou but doesn't love him, and loves Montgomery, but is afraid of being poor again. So what is a girl to do? That's where the script leaves the audience the choice to guide her fate after the MGM lion roars the end, and it's an interesting way of presenting this situation. Bennett never seems like a girl from a poor family, with her regal ways and fastidious way of making herself up, but then again, many early talkie female movie stars (like Stanwyck and Crawford) never looked like they came from poverty either. Menjou, although using his power and position to make Bennett his mistress, is not really a cad, and that gives him some sympathy. Montgomery's character, however, is not really developed. At the bottom of the billing, Clark Gable first got notice with his small part (three scenes), and it is obvious that he was being geared for stardom. The future Auntie Em (Clara Blandick) is no-nonsense and tough as the mother, and J. Farrell MacDonald shines in a scene after Bennett has been rejected by her mother where he comes to her for financial help (presumably for a visit to the bootlegger). Small elements like this makes this rise above the many similar women's dramas of the pre-code depression early talkie era, and that makes this a must.

judy t Bennett's screen image was that of a sophisticated girl who knew how to take care of herself and get what she wanted. Her fans (wrote Griffith & Mayer) believed she would get out of traps that would hold them fast. Surprisingly then, in this film she's passive, unambitious and defeated at the ripe old age of 20 something. Makes me wonder what her benefactor, Menjou, saw in her that kept him interested for several years.The beginning scene in the tenement apartment is terrific, the crowded setting warm and cozy as the family members get ready to start the day. The entire cast is perfect. Gable is very watchable and it's easy to see he would soon be a star. Montgomery is charming and believable when he tells Bennett he knows about her and Menjou but he loves her and wants to marry her as long as there is no more dilly dallying with Menjou. Rambeau is especially good in the scene where she refuses to loan Bennett $100 (a lot of money in 1931), telling her to get off her high horse and do what Rambeau does to support herself. And the generous but not-the-marrying-kind Menjou is likable and his suits are beautifully cut and fitted.And Anita Page is excellent. A commenter asks what happened to Page's career. In 1930 Page was a star. In 1931 she was a supporting player. In 1933 her MGM contract was not renewed and she retired. Studio politics is what happened to the star who was second in popularity to Garbo.So there was another ending filmed but not used. My guess is that a despairing Bennett jumped onto the RR tracks, ala Anna Karenina, or teamed up with Rambeau as a I-hate-men gold digger.

cbryce59 wearing a fox fur wrap complete with head.Shop girl Laura from poor family catches the eye of a rich ad executive and is soon doing more than modeling for him. We see her being gifted with jewels, an apartment, clothing, cars.Her sister's husband gives her the righteous speech, calling her a "woman like you." There's one in every picture, even in this pre-code film.Constance is beautiful as always and wears clothes better than anyone else of her time.Off she goes to Colorado with her boss/lover and attends a very strange picnic where she meets Robert Montgomery. A whole pig (poor thing) spins over a pit while a Native in long braids is seen wandering around. She and Robert M. spend some time at the shore of a dubious-looking river bed, and ride horses together, while he makes pretty speeches. And then he proposes marriage.Laura is in love; she breaks off with her rich lover, but soon finds herself in dire straights. In the end, she has to choose-the poor life with the man she loves, or comfort and security with the rich lover.

paul de boef THE EASIEST WAY is an outstanding film. As so many early talkies it has rather poorly developed episodes, but that's OK with me. The varied & colorful scenes make it really entertaining. Somehow it impressed me.Many of the scenes are brilliantly photographed : The camera climbing up the skyscraper and into the photo studio's, the opening scene of the poor New York apartment with the whole family lying in their beds, the scene of Bennett and Montgomery on horseback and sitting by the lake.It's professionally acted by the entire cast (save Robert Montgomery). Beautiful Constance Bennett makes her character of the dreamy and uncertain girl totally believable : With a restrained, anxious attitude, never totally at ease. (In real life Bennett had a somewhat different character !) And Anita Page as her more earthy sister. Clark Gable has a small but important role, one of his very first - and he looks quite natural. Robert Montgomery was not a great actor, he's always the same in every movie. His character in this film is pretty annoying. Adolphe Menjou comes across as more sympathetic. The final scene is very unusual and beautiful. It's like a scene in a dream : It uplifts the whole film.Should be seen in a theater for maximum impact.