By this point in time, Marion Davies has received an honest evaluation as a performer: far from being a hopeless, no-talent Susan Alexander who appeared before the public solely through the wealth and ego of Hearst, she was nevertheless overmatched in many of her roles, displaying the abilities of a competent supporting player if the material were not too challenging.
Casting her in CAIN AND MABEL was a mistake. She has no discernible flair for comedy, her timing being awkward, her gestures and facial expressions being studied, rather than natural. If in fact it is her own singing voice that we hear, its lack of expressiveness is thankfully limited to a few bars. Being a former hoofer, Davies might be expected to acquit herself with some distinction as a featured dancer, but in fact in her one extended number here, her nimble and stylish male partner, Sammy White, rather than making her look good, illustrates just how numerous her limitations were. Further along, there is a balletic production number in which she poses gracefully in the close and medium shots, while the challenging movements and steps are all photographed in long shots, obviously performed by a double.
The story is trite and flimsy - not at all the screwball comedy it was clearly intended to be. Roscoe Karns and Allen Jenkins perform their characteristic screen roles, while Walter Catlett and Ruth Donnelly are unfortunately kept somewhat under wraps. Caught in the midst of all this - but doing his earnest best, as usual - is Clark Gable.
Postscript: Is it a fact that Hearst issued an order that Miss Davies was not to be kissed on the lips? In the half-dozen or so romantic clinches that follow the leading players' confession of their mutual love, Gable kisses her on the cheek and on the chin, getting as close to her mouth as possible, but clearly off-target.....like a number of other things in this forgettable picture.
