kidboots 1933 was a good year for Nancy. The year before, Paramount had almost given up on her but with "Hot Saturday" and "Under-Cover Man" both critics and the public re-discovered her and Columbia was more determined to borrow her for a story perfectly suited to her talents, Preston Sturges' Broadway success "Child of Manhattan". Nancy's characterization was wonderful and made people recall the old Nancy of "The Dance of Life" and "The Devil's Holiday". When Paramount realised how successful "Child of Manhattan" was they decided to find better stories for her, unfortunately "The Woman Accused" was not the movie to give her lasting success and Nancy continued to be better served at other studios.Visiting "Loveland" a "not too elegant dime a dance hall", is Paul Vanderkill (John Boles) on a curiosity tour of his property. He meets Madeleine McGonegal (Carroll) one of many dance hostesses but whose freshness and charm set her apart from the other girls. There is an instant attraction, even though she has recently rejected Panama Kelly (Buck Jones) who is soon to seek his fortune in Mexico.Even though her cynical mother warns her, Madeleine continues to see Paul and is soon established in a beautiful penthouse. When she learns that she is soon to give birth Paul, reluctantly it seems to her, offers to marry her, insisting though on secrecy so as not to hurt his grown up daughter from a former marriage. When the child dies shortly after birth Madeleine, believing that Paul only married her for the sake of the child flees to Mexico for a quickie divorce. Unbeknownst to her, the Mexican agent (Luis Alberni) she employed, visits Paul and gets a huge settlement for her. Furious at the trick that has been played on Paul she arranges to marry Panama Kelly with whom she has just become reacquainted and who has never stopped loving her. The terms of the settlement stipulate that if she ever marries again the money will be cancelled. It is obvious who Nancy will end up with.As usual John Boles is stuffy and wooden but his sincerity pulls him through. Buck Jones was good as Panama Kelly who would have been far better suited to her as a husband than blue blood Paul. Jessie Ralph in her first movie was praised by the critics of the day, who commented that it wouldn't be her last. She played a motherly figure from Madeleine's dance hall days. Betty Grable had a strange part that belied her billing - she played Madeleine's sister who was seen vaguely in the background and also had a crying scene, but no words!! Another odd thing - in all the books and articles I have read about Nancy Carroll, one picture is always used, a picture of Nancy in a sparkling evening gown with balloons and a cup. The scene must have been deleted from the movie because the only time a cup is mentioned is when Paul and Madeleine are presented with a cup because Paul bought the most tickets. As Silver Screen said "Nancy Carroll as the little New York girl who says "jernt" and "apperntment" has the best role she has had in a long time".

tedg Here's an interesting old movie, one of the earliest examples of a formula that would later define a whole genre, more a whole industry. Man meets girl and immediately falls in love. There is an event followed by a misunderstanding that send them apart. They rejoin at the end. Later this ending would require a public avowal, something missing here.This is also an example of somethings that did not stick. Deep in the depression, many movies featured the ultra rich - people who just seemed to have money for no reason. Because this was before comical prudery changed films starting with the Code, we have the situation that guy knocks up the girl.But I found it interesting for yet another reason. Movies from this era were far more willing to question gender roles than now is the case. Oh, today we worry about professions and opportunity. I'm talking about what it means to be a woman or man. In this film, we have our girl, with appealing innocence. She is the child of Manhattan, with clear immigrant, lower class heritage. Both she and the rich guy are noble people, but she far more. The film is about her decisions.Sturges has taken the time to introduce four older women. They are shoehorned in and have nothing at all to do with the story; they are there only to show strong women, sometimes frustrated strength. There is the older woman at the dance hall where our girl works, who is much loved as she takes care of her girls. We have the aunt of our rich guy who is shown as a forceful nut job.Then we have the girl's mother. We learn a lot about her past and values. She turns her daughter out on the street when she gets pregnant by her then boyfriend. This woman slaps her adult kids, hard. We spend the final third of the movie with the girl's aunt, something of a world traveller, a poor person's playgirl. She drinks too much but always seems to be on top of things.Four strong women form the situation-of-womanhood in which we interpret our girl's life. Nothing like that today in mainstream films.Ted's Evaluation -- 2 of 3: Has some interesting elements.

marc As other reviewers stated, this Columbia pre-code has some of Preston Sturges characteristic touches. But I especially enjoyed the dance hall matron and mentor "Aunt" Minnie, who is a salty, bawdy Jewish tough girl who curses in Yiddish,"mamzer"- bastard and steals every scene. The movie has its dull spots due probably to the unheralded director. It also suffers from Columbia's cheap budget. Although it does give us little luxe in one of the funniest scenes in an expensive dress shop . The owner/salesman makes no secret of his gay orientation as he says as he squeezes Nancy Carrols body,"Don't think of me as a man, think of me as an artiste!"Nancy figures it out and minces, "Okay Dear!"Nancy Carrol is pretty good in the leading role but the male actors are dull as dishwater. There are some interesting sociological/historical bits worth noting. A lot is made of Nancy's low class Brooklyn accent(she says apperntment and Greenpernt instead of appointment and Greenpoint). Archie Bunker spoke similarly. That pronunciation has practically vanished from New York of today. New Yorkers still have distinctive accents but some of the distinctions have disappeared over the years.Also worth noting is the sexual attitudes. Nancy works in a dance hall but it is made clear that she is not a prostitute and she is told by her mother to try to refuse money if it offered to her. Her lazy brother calls her a tramp as soon as she moves in with her lover, without being married and she is soon punished with a dead baby for her sins. The sexual revolution of the 1960's changed attitudes and behaviors. But this movie is worth seeing for 1930's peak into the sexual attitudes of the day.

whpratt1 Enjoyed this story of a girl named Madeleine McGonegal, played by Nancy Carroll, who was a girl who worked in a dance hall where the purchase of a ticket allowed you to dance with a girl of your choosing. This dance hall is owned by a very wealthy man named Paul Vanderkill, (John Boles) who once a week visits his establishment to see that things are running according to his rules of conduct. Boles meets up with a dance hall girl named Madeleine McGonegal and is interested in her down to earth personality and her being so outspoken and honest about herself. Madeleine does not realize John Boles is her big boss and that he is very wealthy and gets worried when he starts buying all kinds of expensive gifts. As the story progresses, Madeleine expects a baby and that is when the entire story changes and the drama begins and takes a new change in their marriage. Great acting by Nancy Carroll and John Boles and you will see Betty Grable, (Lucy) giving a great supporting role. Enjoy