The story is simple, but Joan Crawford is one of those empowering roles that are such a feature of the pre-Code era, and you get Clark Gable in just his 3rd film as well. The setup is that a rich family living it up in the roaring 20's go bust with the stock market crash. Not only do they lose everything but the father dies on the exchange floor, leaving behind two kids (Joan Crawford and William Bakewell) who have never held jobs or gotten an education. While the son can't fathom working and would prefer to sit around getting drunk (a nice little critique of the spoiled rich), he eventually gets involved with bootleggers. The daughter, on the other hand, is a plucky young woman who turns down a marriage proposal that would have made her rich, and goes out and becomes a newspaper reporter instead.
You can probably guess what I love about Crawford's character. She's a modern woman who looks great out on the dance floor, believes in "trying love out on approval" (a scene which clearly signals pre-marital sex), and would rather work and be independent than settle for the traditional role of wife. Her brother is incredulous, leading to this exchange:
Bonnie (Crawford): "I'm not going to do any of those stupid, silly, conventional things. You'd be surprised what a girl can earn when she sets her mind to it. I'm no dud." Rodney (Bakewell): "You've got the looks, kid. Trade on 'em. Open up a beauty parlor. ..." Bonnie: "That's your idea of me, huh? Beautiful but dumb. All right, I'll show you. I'm going out to get a man-sized job."
That second dance she does when she's working undercover in the gangster's nightclub to get a story is delightful and evokes the flapper era, but to me the feminism in the film is what makes it a solid film, despite its basic plot. Crawford is not known for her on-screen charm, but she summons it here, and does well in the various aspects of her role - society woman, flapper, newspaper reporter, and love interest (hey, the complete woman). Gable is suitably tough as the gang leader, and he and Crawford have great chemistry together. I didn't care for the contrived confrontation which occurs and how the film ends though, which was really unfortunate, and kept it from a higher rating.
Another quote, from Gable to Crawford after her dance: "You got me going, sister." "Can I depend on it?" "In a big way."
You can probably guess what I love about Crawford's character. She's a modern woman who looks great out on the dance floor, believes in "trying love out on approval" (a scene which clearly signals pre-marital sex), and would rather work and be independent than settle for the traditional role of wife. Her brother is incredulous, leading to this exchange:
Bonnie (Crawford): "I'm not going to do any of those stupid, silly, conventional things. You'd be surprised what a girl can earn when she sets her mind to it. I'm no dud." Rodney (Bakewell): "You've got the looks, kid. Trade on 'em. Open up a beauty parlor. ..." Bonnie: "That's your idea of me, huh? Beautiful but dumb. All right, I'll show you. I'm going out to get a man-sized job."
That second dance she does when she's working undercover in the gangster's nightclub to get a story is delightful and evokes the flapper era, but to me the feminism in the film is what makes it a solid film, despite its basic plot. Crawford is not known for her on-screen charm, but she summons it here, and does well in the various aspects of her role - society woman, flapper, newspaper reporter, and love interest (hey, the complete woman). Gable is suitably tough as the gang leader, and he and Crawford have great chemistry together. I didn't care for the contrived confrontation which occurs and how the film ends though, which was really unfortunate, and kept it from a higher rating.
Another quote, from Gable to Crawford after her dance: "You got me going, sister." "Can I depend on it?" "In a big way."