Ladies Should Listen

Watching Cary Grant in any movies usually means you can expect it to be enjoyable. This movie although short is fine as a funny type of movie from that era. The director of this movie is obviously following the Lubitcsh formula for comedy although not as good as Lubitcsh. You have to give the director credit however in making this short movie interesting. There was obviously budget constraints, but looking at the core supporting players, they actually do an excellent job. George Barbier plays a familiar role of a father who demands his wife is to be married. This is also the role he played however as king in "The Smiling Lieutenant" and he has that role down. What's amazing is the performance of Nydia Westman as Susie Flamberg. She plays and has dialog which is much like Claudette Colbert's role as the daughter seeking the love interest.

In the case of The Smiling Lieutenant, Maurice Chevalier is the love interest the daughter seeks, but in this case it's Cary Grant. When watching an old copy of this movie I actually thought for a moment based on the dialog that Nydia Westman was Caudette Colbert and had to do a double take at the credits.

These are probably formula roles for comedy by this time in the 30s, kind of a formula for haphazard comedy. Never the less, it's fun to watch and not bad. Wish I had a better sounding audio on the copy I saw. I wonder if there are even any good masters of this film available that could meet Turner's quality requirements for release. I give it a solid 7 perhaps it would rate a little better if there had been better audio.

I can't quite figure out why so many reviewers here don't think this is much of a film. To me, never having seen it (or, quite honestly, heard of it) before, I found it a delightful time-waster and I was surprised at just how good Cary Grant was at comedy this early in the game. The story is fluff and really doesn't make much sense, but you can say that about THE BIG SLEEP (and everyone does) while still enjoying it. Anyway, any film with Edward Everett Horton in his prime is worth seeing, and to have the two of actors together is icing on the cake. (One might want to read the great Christopher Plummer's autobiography just to learn in what awe he held Horton when acting with him in the 1950s.) Frances Drake is also delightful (although I am more used to seeing her in thrillers like MAD LOVE and THE INVISIBLE RAY) and shows a gift for comedy. But the truly inspired performance in this film, which no words can adequately describe - you really have to see it - is Nydia Westman's. She is just a delight as a cute, pliant, headstrong ditz (no other word will suffice). Again, I've never seen anything like it except maybe Marie Wilson's lovably weird secretary to Warren William in SATAN MET A LADY. The performances are not alike, they are just weirdly different from anything you could possibly expect. Watch this and you'll see what I mean. Of course, the film depends totally on the performers - as a viable screenplay it may have a lot of words but it hardly exists - and they come through. Besides, who ever went to see a Cary Grant film for the screenplay? And Westman delivers lines like little lightning bolts from another planet. I thought the whole thing delightful.

LADIES SHOULD LISTEN (Paramount, 1934), directed by Frank Tuttle, ranks one of the many "drawing room" comedies produced during the 1930s, and although not based on any current stage successes, it looks more like a filmed stage play. Not quite on a lavish scale as the more productive MGM comedy with Robert Montgomery or Norma Shearer, LADIES SHOULD LISTEN features the up-and-coming Cary Grant, several years before rising to super-star status, then showing his capability as a light comedian in spite of acting in a part that might have been best suited for popular Frenchman Maurice Chevalier, who, by then, has moved on and no longer part of the Paramount banner.

The story revolves around Julian De Lussac (Cary Grant), a Parisian man-about-town who, through no fault of his own, gets himself involved with three women at the same time, including one in particular, Anna Mirelle (Frances Drake), a switchboard operator who listens in on Julian's telephone conversations, who becomes his protector. Aside from Susie Flamberg (Nydia Westman), an comely bespectacled young lady who does her best to garner Julian's attention in spite of being engaged to Paul Vernet (Edward Everett Horton), matters become complicated when Marguerite Cintos (Rosita Moreno), who, along with her husband, Ramon (Rafael Corio), make attempts in having Julian as their next blackmailing victim.

The supporting cast consists of George Barbier as Susie's father, Joseph; Charles E. Arnt as Albert, the manservant; Charles Ray, a once popular leading man of the silent screen now appearing in minor roles, playing Henri, the building porter who loves operator gal Anna; with Henrietta Burnside and Joe North in smaller roles. Sad-eyed and dark-haired beauty Frances Drake, an up-and-coming Paramount starlet, works well as the nosy switchboard girl who gets herself involved in a playboy's escapades, while Nydia Westman, in her Una Merkel-type manner, provokes some solid laughs with her man-chasing performance. One scene finds her telephoning Julian (Grant), telling him some interesting news, "I'm in bed!"

LADIES SHOULD LISTEN became the second and final comedy to pair Grant and Horton of equal star status. (Horton appeared in future Grant comedies, including Columbia's HOLIDAY in 1938, and the madcap Warner Brothers comedy, ARSENIC AND OLD LACE in 1944). They had previously worked well together in the funnier KISS AND MAKE UP (1934), which consists faster pace, silly comedy climaxed by an amusing car chase. As for LADIES SHOULD LISTEN, it lacks the quicker pace KISS AND MAKE UP has, and gives the impression of being an early 1930s talkie since much of it takes takes place in Julian's boudoir. No song numbers are inserted as the earlier film, however, it does include familiar underscoring, "Falling in Love Again," a song introduced and immortalized by Marlene Dietrich in the German produced musical-drama, THE BLUE ANGEL (1930).

With the screenplay by Claude Binyon and Frank Butler, LADIES SHOULD LISTEN should have been more amusing, and with Ernst Lubitsch in the director's chair, who had worked wonders with material such as this, it would have been, especially with Cary Grant in the lead. What's equally surprising is that this comedy is relatively short, 62 minutes. Out of circulation in the television markets for quite some time now (having been presented on New York City's WPIX, Channel 11, prior to 1972) LADIES SHOULD LISTEN, might be something to consider if it should ever be resurrected on television again. "Operator, please connect me to Turner Classic Movies programming department." One final note, star searchers, look closely for future leading actress, Ann Sheridan, appearing briefly as a fellow switchboard operator named Blanche. (**)

An overly familiar romantic comedy, the paper-thin LADIES SHOULD LISTEN is a harmless, if trivial, addition to the genre. Neither the writing or direction is sharp enough to make the material really spark or crackle, but Cary Grant displays his increasing prowess in romantic farce, and the plot line of his character being romanced by the telephone operator who repeatedly saves him through eavesdropping is serviceable if hardly superior. The basic structure (as well as the Paris backdrop) is more than casually reminiscent of Grant's previous film KISS AND MAKE UP, only not as inspired or as energetically performed by the supporting players. Still, the film provides a solid hour of agreeable, lightweight entertainment.

Julian de Lussac, an investor with an expiring option in Chilean mineral rights, is frolicking about with any and every beautiful woman in Paris. Unknown to Julian his current amore, Marguerite, is the scheming wife of a dangerous, scheming investor. Both are contriving to part Julian and his mineral option.

The woman who brings him to his senses is the switchboard operator of his apartment building, Anna. Anna knows every detail of Julian's many affairs and has fallen in love with him via listening in on his phone conversations. She knows why each love affair occurred and why each ended. She also knows from her connections with other operators, just what Marguerite and her husband are up to.

Julian is flattered by Anna's adoration, but in no way returns it. From the time that Anna's secret love is out in the open, Anna wages war against the evil couple who are trying to dupe Julian. Her weapon: the switchboard.

A man with the morals of an alley cat just needs the right woman to show him the path to true love.