Maisie

A meddlesome, but well-meaning Brooklyn showgirl(the wonderful Ann Sothern) becomes stranded and ends up on a Wyoming ranch where she falls in love with a handsome foreman(Robert Young) and attempts to clear him of a trumped-up murder charge. Based on the Wilson Collinson novel, "Dark Dame", the film was intended as a vehicle for blonde bombshell Jean Harlow, who died before the project could be lifted off the ground. The script was then given to another spicy and likable MGM contract player, Ann Sothern, who had charmed her way into the hearts of movie audiences a year earlier with her delightful turn as the wisecracking blonde in the United Artists release, TRADE WINDS. Miss Sothern's winning personality and comedic talents enabled the film to betray its low-budget status, and the picture became such a hit that it spawned no less than nine sequels, all starring the gifted Miss Sothern. "MAISIE" may not be one of MGM's confirmed classics, but it is noteworthy, however, as one of the few film series to feature a lady as the central character.

Ann Sothern could enliven any production and any script, gracing both with her talent, beauty and unusual voice. "Maisie," the first in a series of films about one Miss Maisie Ravier, is no exception. Despite being made on a shoestring, watching Ann Sothern is a delight. She plays a showgirl who is left stranded when the show folds before she arrives. Desperate for work, she takes a job in a carnival, where she meets Slim (Robert Young), a woman-hating cowboy. She stows away in his truck and then assigns herself as a maid to the wife (Ruth Hussey) of Slim's boss (Ian Hunter) when they arrive. Mr. and Mrs. Ames are there to repair their marriage, which was nearly ruined by Mrs. Ames' infidelity. It doesn't take long for anyone to realize that she's a tramp and still at it. This leads to tragedy, and it's up to Maisie to save the day.

Sothern makes the film entertaining - Maisie has a smart mouth and is very enterprising. I can't agree with one poster that this was the first series to have a woman as the main character because the Torchy Blane series started two years before Maisie. Ian Hunter gives a very gentle performance as Mr. Ames, Ruth Hussey is appropriately conniving, and Robert Young is miscast. It's not the first time.

Although I haven't seen the rest of the series yet, apparently they're done as separate entities, because from looking at the cast lists, it doesn't appear that the Young character is in the other films, unless the reason is subsequently explained. I originally thought this might be the last film instead of the first. Well, they promise to be interesting. Anything with Ann Sothern usually is.

MAISIE was the first in a series of ten MGM features starring the delightful Ann Sothern as a sharp-tongued Brooklyn chorus girl with a heart of gold. One way or the other, Maisie found herself in the middle of other people's problems, and, more often than not, found a reasonable solution.

The MAISIE series was made on a noticeably low-budget, but Ms. Sothern's bright and vivacious personality elevated these "B" movies to A picture status, making every entry in the series always worth watching. MAISIE is also of great historical importance because it's the first time a female was the central character of a film series.(BLONDIE doesn't count because most of the 28 films in that series revolved around Dagwood).

Though I have seen all of the films in the MAISIE series and love them all dearly, my top favorites are: MAISIE(1939), CONGO MAISIE(1940), GOLD RUSH MAISIE(1940), MAISIE WAS A LADY(1941), MAISIE GETS HER MAN(1942), and MAISIE GOES TO RENO(1944).

The irrepressible Ann Sothern embarks on one of her signature roles, her defining one until she switched over to TV and Private Secretary, and she a bright and breezy delight. Originally intended as an A picture for the reigning blonde queen of the studio Jean Harlow until her untimely death kicked it around the studio before landing in the lower budget B unit. Still an MGM B picture was a higher quality production than some of the lower rung studios top grade films having as they did the cream of the Hollywood talent pool at their disposal.

So appealing is Ann it's no wonder this was the start of a highly successful series chronicling her exploits in ever more exotic locations. No matter the pickle she finds herself in her pluck and ingenuity carry her though. Robert Young, a man born to wear dinner jackets, is rather preposterously cast as a ranch hand, in the best pressed dude clothes you've ever seen, but his facile charm carries him over any rough spots. Ian Hunter is all warm dignity in his part but the biggest surprise casting is finding Ruth Hussey, usually the wry, wise upstanding lady, playing a rapacious unfaithful gold-digger. This was one of half a dozen films she made the year before her big splash in The Philadelphia Story and Metro hadn't found her niche just yet.

A delightful comedy with a dark turn here and there Ann effortlessly drives the film with her star presence. How she never made it to the top rung of stardom is a mystery.

Ann Sothern took charge of this character and what was intended as a one-off B-picture became such a hit, and such a money maker, that MGM was forced to see Sothern and her character in a more positive light. Surrounded by actors who really didn't fit the roles they were supposed to play, Sothern pulls the whole thing off anyway -- and she does it marvelously. Because the money kept rolling in, MGM made nine (9) more Maisie movies, and Sothern starred in them all, while at the same time appearing in other classic films like "A Letter to Three Wives".

Sothern was a class act and deserved better from MGM. They made mega-bucks off her, but Mayer was following his sexual interests, as usual, and the big money went to projects starring the girls he was attracted to.

Sothern, of course, went on to superstardom on television and became a household name, like her co-star Robert Young. The Maisie series was much better than average and Sothern is a pure delight, the likes of which we may never see again.