An executive hires a mousy, plain woman as his secretary so she will not divert him from his work, but she still becomes determined to win his heart.An executive hires a mousy, plain woman as his secretary so she will not divert him from his work, but she still becomes determined to win his heart.An executive hires a mousy, plain woman as his secretary so she will not divert him from his work, but she still becomes determined to win his heart.
- Director
- Writers
- Stars
Lilian Bond
- Girl at Bar
- (uncredited)
Yola d'Avril
- Girl in Bath Tub
- (uncredited)
Geraldine Dvorak
- Parisian Nightclub Dancer
- (uncredited)
Harry Holman
- Hotel Manager
- (uncredited)
Olaf Hytten
- Business Associate
- (uncredited)
Barbara Leonard
- Girl with Dog
- (uncredited)
August Tollaire
- Paris Hotel Guest in Hallway
- (uncredited)
Polly Walters
- Ludwig's Girl
- (uncredited)
Leo White
- Man in Elevator
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
Rapid fire dialog rips through this charming pre code gem so fast you'll have to put down your iPhone to enjoy.
Marian Marsh shines and Warren William is offensive and hilarious.
I'm amazed this film isn't rated higher than 6.8! It's a fast-paced gem with snappy dialogue and terrific performances.
As another reviewer noted, this may be one of the first, if not THE first, film in which the big boss (played with dismissive invective and pure slime by the excellent Warren William) falls for his secretary (played with ultra-efficiency and rapid fire dialogue by ugly duckling Marian Marsh) by the end of the film.
The old boss-loves-secretary scenario plays fresh and funny here, setting a standard that subsequent films fail to capture.
I was surprised how much I truly enjoyed "Beauty and the Boss", and I highly recommend it. It is laugh-out-loud funny!
If you need me, I'll be working on some research!
As another reviewer noted, this may be one of the first, if not THE first, film in which the big boss (played with dismissive invective and pure slime by the excellent Warren William) falls for his secretary (played with ultra-efficiency and rapid fire dialogue by ugly duckling Marian Marsh) by the end of the film.
The old boss-loves-secretary scenario plays fresh and funny here, setting a standard that subsequent films fail to capture.
I was surprised how much I truly enjoyed "Beauty and the Boss", and I highly recommend it. It is laugh-out-loud funny!
If you need me, I'll be working on some research!
One of the very first boss falls for secretary films, but fresh, original, and wonderfully acted and scripted. Warren William is young but just as dapper and sophisticated as in later roles. I have never seen the female lead -- secretary -- before, but she is very pretty and a good comedic actress. One of the best parts is the way she keeps turning the tables on WW as the boss, first with super efficiency and later by doing what he commands, literally. It is set in Europe at the height of the worldwide depression, and it shows how well some of the rich -- those who were lucky enough not to be heavily invested in the preceding stock market mania -- were living, while others struggled. Seeing how people lived then, some 70 years ago, is always interesting.
Although it betrays its theater-script origins in the rhythm of the performances and dialogue, this sparkling little formula comedy about a secretary who wins a rich Baron is chockablock with snappy retorts and racy rejoinders. Marian Marsh is adorable, charming and always convincing.
The surprising candor of the script is refreshing: despite the free modern use of more explicit language, this depression-era tale leaves nothing to the imagination. Its honesty is surprising and heightens the humor of the gentle jokes.
Watching scenes played out between Marsh and Warren William with such genuine engagement would be impossible in the modern era of frenetic jump-cutting. What a treat to see talented performers do such naughty and giggly scenes in a single take with hardly a cutaway or interruption in sight!
The surprising candor of the script is refreshing: despite the free modern use of more explicit language, this depression-era tale leaves nothing to the imagination. Its honesty is surprising and heightens the humor of the gentle jokes.
Watching scenes played out between Marsh and Warren William with such genuine engagement would be impossible in the modern era of frenetic jump-cutting. What a treat to see talented performers do such naughty and giggly scenes in a single take with hardly a cutaway or interruption in sight!
Warren William and Marian Marsh sparkle in this delicious Vitaphone production. Ms. Marsh handles the role of a dowdy but wise secretary with great aplomb, she's delightful! William (the star with two first names) is charming as the playboy baron with an amorous secretary on every phone line. Charles Butterworth adds to the fun with his usual hijinks. This one's a keeper!
Did you know
- TriviaThis film was based on a 1928 Hungarian play by Ladislas Fodor about a secretary who eventually marries her boss. The original play opened in Budapest, Hungary, on 2 December 1927. According to Variety, Paul Frank was a co-author of the Hungarian play.
- Goofs(at around 41 mins) Ollie's black gown goes from being open and undone, (where her undergarments can be seen) to suddenly closed and fastened tightly.
- Quotes
Reporter at Airport: How did you find the American women?
Ludwig Pfeffer Jr.: I took a taxi cab.
- ConnectionsRemade as The Church Mouse (1934)
- SoundtracksVienna
Music by Leo F. Forbstein
Details
- Runtime
- 1h 6m(66 min)
- Color
- Sound mix
- Aspect ratio
- 1.37 : 1
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