Ladies' Man

... because he speaks in a rather haughty fashion, much like he did when talking film first came in a couple of years before, and he seems rather bored with the whole thing. Maybe it was because he knew he was leaving Paramount and thus he knew this was his last film there before moving to Warner Brothers. Maybe it's because the tone of the film itself is inconsistent as it starts out like a precode comedy of the upper class being enthusiastically fooled by a grifter and then turns deadly serious.

Jamie Darricott (William Powell) is a high society gigilo. He gets friendly with his new neighbors, the Fendleys. I'm not sure that he even intended for anything to happen between them, but Mrs. Fendley turns to Jamie after her husband repeatedly breaks dates with her because of business to which he must attend. Jamie is giving her ego that last gasp of romance, and she is giving him her jewelry which he hocks in order to live off of. He makes a really serious mistake when he starts yet another romance with Mrs. Fendley's daughter, the rather unstable Rachel (Carole Lombard) for non financial reasons. You have to wonder what was he thinking, because he can't let either woman find out about the other.

And then he meets socialite Norma (Kay Francis), and there is a genuine romance that develops between them, and this makes him want to leave his life of being a "ladies' man". But of course, complications ensue, not the least of which is that neither Fendley woman is just going to let Jamie go without a fight, even knowing what he is.

I found Olive Tell really interesting here as Mrs. Fendley, a woman who is frantically trying to hold on to the last vestiges of her youth. She successfully made the transition to sound, but she also wasn't nearly as old as the part she was playing. It's mentioned several times that she and Jamie look ridiculous together because of the difference in their ages, yet William Powell was actually two years older than Olive Tell! And Ms. Tell is only ten years older than the actor playing her son.

This is pretty much a paint by numbers precode. I would mainly recommend it for fans of William Powell and Kay Francis who always had great chemistry together and who would both be heading over to Warner Brothers to make some of their best films. This is probably one of the hardest to find of William Powell's talking films.

William Powell is a ladies' man. He moves through New York upper crust, a regular at the parties of the 400, a resident at a hotel. Where does his money come from? The ladies, whom he charms. They give him the jewelry their husbands buy them, and he sells them to pawnbroker Clarence Williams. One woman who gives him her jewelry is Olive Tell. Another, who want to marry him, is her daughter, Carole Lombard. Then he meets Kay Francis.

Powell gives a performance that is a model of diffidence verging in contempt, not just for the women, for himself. Miss Lombard gives one of her society deb performances, with a drunk scene of the type that she would come to play for comedy. It's not a terribly interesting movie for me, because there's no one to really feel sorry for. Powell's performance is spot on, of course, but he recognizes his own unworthiness, and Miss Francis falls too easily for his charms, setting up an ending that comes as little surprise. There's little of the chemistry in this Paramount movie that would make their work together at Warner Brothers so romantic. Perhaps Herman Mankiewicz lacked the powers to adapt the Rupert Hughes novel it is based on, or perhaps Hughes' novel was too mechanical. Perhaps director Lothar Mendes was simply one of those directors whose strengths lay in the mechanics of film construction. Or perhaps it was all three of them.

This is precode, which I find interesting at the movies moved from silent to talkie/precode and then talkies with ratings/warnings.

I liked this movie, and would watch it once.

Powell always holds his own, and he didn't want to do this movie. Still, it is solid, and when you have these three actors, they will deliver compelling performances. It also approaches tough topics; it is almost a classy soap opera. This film features some pretty sordid choices as to what someone has decided to do with their lives.

The downside is that the love interests some times fall in love within a day, which makes it not so plausible. It weakens the viewer's investment in the characters. It's just not as believable.

I still enjoyed it and Powell commits; Lombard plays a very believable drunk at times; Kay Francis facial expressions and commitment are in depth. I enjoyed seeing these wonderful actors.

I like Francis. I especially like her in the films she made when she was a little star, before she went to Warner Bros and became a big star. And I like Powell. Their film One Way Passage is perfect and they were perfection in it. But not so in this film, primarily because their romance is unbelievable. They meet and over a period of 24 hours one seamy incident after another takes place and Francis reaction is to fall deeper in love. The problem is not in the casting of Powell as a cad, but in the story, which, it seems to me, had the makings of a sophisticated comedy with a happy ending. Unhappily, the movie sinks. Happily, Powell and Francis, and Lombard too, survived this mess and went on their merry way to become Super Stars.

Most viewers associate William Powell with roles that are charming, often humorous, light and debonair. However, in his early Paramount pre-code career period, he occasionally ventured into uncharacteristic parts. This one from Ladies' Man (LM) is certainly in that category. Yes, while he was interesting, suave and stylish as usual, he was also somewhat unsympathetic, weak, self-absorbed and not particularly nice as a human being. That he was such catnip to so many women in LM----including both a mother AND her daughter (Olive Tell and Carole Lombard) is evidence that the suspension of disbelief was definitely required to accept this kind of story as resembling a slice of reality.

What makes LM well worth viewing by a modern audience is the opportunity to see William Powell, Kay Francis and Carole Lombard at the dawn of the sound era, when all were relatively young, fresh and not yet type cast in roles that later would make them more celebrated and famous. It should also be noted that Powell and Lombard were married within six weeks of LM's official release. No doubt their off-screen relationship helped Lombard to become a better actress, and critics also commented on her delightful performance in LM as well as her growing confidence and glamour. While Powell and Francis would conclude their six film partnership with a celebrated pairing one year later in the classic One Way Passage, they made their romantic roles in LM touching, appealing and believable.

It is difficult to like watching the repetitious adventures of a professional gigolo, but Powell obviously put a great deal of his personal charm into the part. It may also be hard to view the idle rich as a particularly interesting group of people upon whom to invest your time. This is especially true when adultery is treated with such remarkable pre-code indifference, and where a mother and daughter are both knowingly being bedded down by the same man! But Powell, Francis and Lombard were all so personally appealing in LM that we can and should be forgiven for enjoying the movie---with its warts and all.

Lothar Mendes by this time was something of an expert in directing such cinematic stories. And particular mention should be made of the screenplay contribution of Herman J. Mankiewicz, who of course would later gain immortality for his script collaboration with Orson Welles on Citizen Kane.

Powell was only three years away from making his career-changing role of Nick Charles in the The Thin Man at MGM. And in that same year (1934), Lombard scored big in her breakthrough screwball comedy Twentieth Century with John Barrymore for Columbia Studio and directed by Howard Hawks. Finally, Francis made her classic Ernst Lubitsch romantic comedy Trouble in Paradise at Paramount in 1932--just one year after completing this film. LM may not have achieved the success of these later cinematic efforts, but it does have its own rewards!