Prosperity

Maggie Warren (Marie Dressler) is the hard-nosed matriarch who runs the family bank. His son John is marrying Helen Praskins. Helen's mother Lizzie Praskins (Polly Moran) is one of the bank's biggest depositor. Maggie appoints John as the new head of the bank. The two mothers fight over the wedding. Some years later, various problems arise and there is a run on the bank.

I like the part where Maggie and Lizzie fight over the wedding. If only they could incorporate the bank run with the wedding and have the whole thing take place before the vows. Dressler has a great presence. The two older ladies have good comedic chemistry. This is their movie.

... with the first two being "Reducing" and "Politics".

As in the others, Polly Moran and Marie Dressler play lifelong friends who fight like cats and dogs. Dressler is the more anchored and likeable one. Moran plays somebody you'd like to tie an anchor to and throw in the ocean. Her character is that obnoxious and snobby. But the contrast works. MGM didn't get comedy right very often in the 1930s - their specialty was drama - so this teaming was one of their rare hits in the comedy genre.

Dressler plays the president of a small town bank. Moran is one of her larger depositors, always thinking this entitles her to complain about this or that regarding the bank. The film opens on the year 1925 "when money talked and was on speaking terms with everybody" as Dressler's son John (Norman Foster) and Moran's daughter Helen (Anita Page) are about to get married. Dressler is going to retire and let John run the bank. And then comes the Great Depression with Moran withdrawing all of her money on a whim, causing a "run" on the bank, and ultimately causes the bank to close. These things happened in the Depression with people left without their life savings because there was no FDIC. Your average bank had zero protection for your savings. Without getting into the details of the plot, let's just say complications ensue.

I know that this doesn't sound like a comedy at all, but the secret to the Dressler/Moran comedies is that there is usually something very serious going on in the broader plot punctuated with lots of gags and broad physical comedy by the two leading ladies.

The odd thing about this film? The year before, over at Warner Brothers, Page and Foster played newlyweds in "Under Eighteen". There are lots of similarities - the two get married at the beginning of the film during the roaring twenties, then the Depression hits, then their marriage troubles rise with their monetary ones. And they weren't even the main characters. Did that have anything to do with them being reteamed here? Could be.

The big-hearted matriarch of a small town bank works furiously to keep her institution alive. Though beset by trial & tribulation, she teaches her community that there is much more to PROSPERITY than how much money one has in the bank.

Marie Dressler was Hollywood's Queen when she made this crowd pleasing comedy/drama in 1932. She is perfect as the tough old lady with a tender heart who fights for her son's happiness and the well-being of their family owned bank. Depression audiences adored Marie because she was one of them, blunt, honest, no-nonsense, nothing fake or phony about her. They rewarded her by making her the box office champion in the years before her untimely death in 1934.

However, it's important to notice that Dressler shares star billing in PROSPERITY with her frequent sidekick, the ubiquitous Polly Moran. This spunky, buxom little comedienne cut her teeth in Mack Sennett Comedies and was most adept at slapstick & physical humor. Together, Marie & Polly, like a distaff Laurel & Hardy, were formidably funny. Their several screen pairings, though seldom revived today, are comedic gems.

Others in the cast (Anita Page as Polly's daughter, Norman Foster as Marie's son & John Miljan as the villain) are all very competent, but exist mainly to showcase the Ladies.

What drags Prosperity down is the repeated insertion of low comedy gags involving Polly Moran, a successful silent-era slapstick comedienne whose humor didn't play very well with sound. Far too much footage is wasted in setting up lame punch lines or overdone sight gags. These tedious distractions, unfortunately, also tend to involve the film's star, Marie Dressler, who could easily have done without them in her otherwise impressive portrayal of a small-town bank president who weathers the storm of economic depression by a combination of ingenuity and what they used to call gumption. The plot involves Dressler's struggle with entangled financial and familial crises.

Her son is played by Norman Foster who was an able actor but had no distinctive traits to set him apart from a host of other nice looking young male performers. Anita Page, just past her brief burst of major stardom, is cast as Foster's wife in an undemanding supporting role.

This film is less successful than "American Madness," released the same year, which is also about the travails of a small town banker during the Depression.

Prosperity is a comedy/drama that was very timely in 1932. It concerns bank closures. In the last of the Films that Dressler starred in with Polly Moran, she plays a bank president who saves her town. Lots of plots twists but basically a star vehicle for a great star--Marie Dressler. She can ham and mug her way thru anything and always get a laugh, but when Dressler played dramatic scenes, no one could touch her. No art. Nothing arch. Just her her old, worn, wonderful face to put across the feeling. That Marie Dressler is largely forgotten now except for her rather gauche comedy style (a style that Lucille Ball and Carol Burnett borrowed from liberally) is a pity. In Prosperity as well and Min and Bill, Anna Christie, Tugboat Annie, Emma, and Politics, she proves she was a fine dramatic actress. As a comic she ranks among the all-time best.

Polly Moran plays another hateful character, but plays it well. Anita Page, Norman Foster, Henry Armetta, Claire du Brey, and Frank Darien co-star. Rather dark ending is salvaged by low comedy, but somehow it all works.