Manhattan Love Song

When the Depression came to America, the usual stories about the doings of the upper class became irrelevant within two years. Films like "You Can't Take It With You," "Sullivan's Travels," "My Man Godfrey," "Our Daily Bread," "Wild Boys of the Road," "The Devil and Miss Jones," and musicals like "Gold-Diggers of 1933" set forth a new vision, that of a financially troubled America.

In some of these fantasies, the rich suddenly had a change of heart and supported the poor, in other films the poor formed an anarchist collective of creative equality and resource-sharing which saved the day, and in a third type the wealthy tumbled into poverty and the poor saved them by demonstrating their spunk, grit, and human kindness.

"Manhattan Love Song" falls into this last category. The snooty rich sisters lose all their money and are thrown on the mercy of their former servants and a random stranger from way out West. It is only a slight comedy, but as a romance, it is very satisfying. All the right Shakespearean touches are there -- the poor-but-honest true love, the temperamental young woman, the wise old woman, the comical or rustic couple, the second-lead couple, and the lead couple.

Extra points go to Robert Armstrong as a dynamic leading man, to Dixie Lee as a very good singer, and to the uncredited "Louie," whose pianistic skills are supreme. Cecil Cunningham also does a lovely turn as the old, unpretentious, and down-to-earth tourist -lady visiting New York (portrayed by Los Angeles), who happens to be the owner of a silver mine in Nevada.

For scene-spotters: This is a low budget film from Monogram, so we don't get much in the way of high art deco set decoration. No trains, trained dogs, special signage, or skyscrapers -- but there are some nice dresses, a good view of a kitchen with contemporary appliances, and a pretty clean look at the inside of a Western Electric phone booth.