Neil Doyle All I can say is any Warner film that has ROSS Alexander and PHIL REGAN in supporting roles is already in trouble. Ross has no sparks as a leading man running away from a process server (Joan Blondell) and Regan's high-pitched tenor is hard on the ears. For comic slant we have HUGH HERBERT in another one of his stereotyped roles to gather whatever laughs there are from a motorboat out of control.Then we have JOAN BLONDELL and GLENDA FARRELL fast talking their way through an "Okay, toots" kind of script and we have more trouble ahead as the two leading ladies blunder their way through one mistake after another in search of good comedic results. The script is no help, with Blondell getting dumped overboard from a yacht several times in a row.Mercifully, the programmer is only 66 minutes in length, but seems longer than that. Not recommended to anyone but die hard Joan Blondell fans who apparently think she's great in everything, no matter how ridiculous the plotting is or how slim the material.

trpdean I'd never heard of this before I saw it on television the other day. It's captivating, fast-paced, very funny, very imaginative, with terrific dialogue and wonderfully funny situations.Joan Blondell in particular is adorable - playing a vulnerable, smart, fast-moving and thinking, deeply romantic and quick-witted girl. Glenda Farrell is excellent too - as the less romantic of the pair.Hugh Herbert is terribly funny - one really has to listen to his underplaying of a completely distinctive personality - the closest the movies come is probably Edward Everett Horton's character in films, but their manners and style are quite different.I love movies like this - they're VERY fast-moving, and the imagination, the sheer delight evident in the making (and thus in the viewing) - is the opposite of the so often hackneyed (or gross) comedies coming out of Hollywood these days.Perhaps one of the things that most appeals is that the two leads (Blondell and Farrell) are themselves so likable, that you strongly sympathize with them in every wonderfully bizarre situation. (So often I find myself just not LIKING the protagonist in modern romantic comedies - which is fatal to their enjoyment).Joan Blondell's films of the 1930s (whether comedies or the six she did with Jimmy Cagney with whom she was starring on Broadway when both were discovered by Hollywood) are a great and rather undiscovered treasure for modern audiences. You just can't go wrong with Blondell in this or such films as The Traveling Saleslady, in the Gold Diggers films or anything else I've happened to see from the 1930s.Do watch it - even though it requires close attention because the dialogue flies as fast as His Girl Friday. You'll be glad you did.

Ron Oliver Two lady process servers will stop at nothing to do their job - but then one falls in love with the man they are stalking...WE'RE IN THE MONEY was the sort of ephemeral comic frippery which the studios produced almost effortlessly during the 1930's. Well made & highly enjoyable, Depression audiences couldn't seem to get enough of these popular, funny photo dramas.Joan Blondell & Glenda Farrell are perfectly cast as the fearless, fast-talking females who will try anything to serve their subpoenas. Although Joan gets both top billing and the romantic scenes, both gals are as talented & watchable as they are gorgeous.Ross Alexander plays Blondell's love interest and he does a very nice job. Remembered now chiefly for his appearance in the classic A MIDSUMMER NIGHT'S DREAM (1935), this talented young man from Brooklyn was gifted with the good looks & acting skills which should have made him a major Hollywood star. Instead, Alexander ended up in mostly forgettable parts in obscure films. Tragically, Ross Alexander died a suicide in 1937, at the age of only 29.Hugh Herbert, whimsical & wacky as ever, appears as the girls' boss. Whether driving a stolen car or piloting a speeding motorboat, he is equally hilarious. Behind him comes a rank of character actors - Henry O'Neill, E.E. Clive, Lionel Stander, Hobart Cavanaugh - all equally adept at wringing every smile out of any situation. Sharp-eyed movie mavens should spot an unbilled Walter Brennan as a witness at the wedding.While never stars of the first rank, Joan Blondell (1906-1979) & Glenda Farrell (1904-1971) enlivened scores of films at Warner Bros. throughout the 1930's, especially the eight in which they appeared together. Whether playing gold diggers or working girls, reporters or secretaries, these blonde & brassy ladies were very nearly always a match for whatever leading man was lucky enough to share equal billing alongside them. With a wisecrack or a glance, their characters showed they were ready to take on the world - and any man in it. Never as wickedly brazen as Paramount's Mae West, you always had the feeling that, tough as they were, Blondell & Farrell used their toughness to defend vulnerable hearts ready to break over the right guy. While many performances from seven decades ago can look campy or contrived today, these two lovely ladies are still spirited & sassy.

darryn.mcatee a minor warner studio output using up its contract players. blondell and farrell spark off each other like an early version of thelma and louise as they serve witness summons on a range of male lugs: a crooner, a wrestler and a wiseguy. an interesting film for the potential it offered for female leads, a potential that hollywood has always underexploited.