It's a tired old story - maybe not so tired in 1933 - about a young hopeful, Eva Lovelace (Hepburn) who comes to Broadway in search of fame. Kate's character is just so naive and so forward - and broke yet proud - that she is captivating. I can't think of anybody else who played it just like this so early in the talking film era.
She bursts in on producer Joseph Easton's (Adolphe Menjou) office thinking because he actually said a few kind words to her in passing that there was some kind of professional connection there. She has several completely forward conversations in his office with complete strangers, and some react positively and some negatively. But it establishes who Eva is as a character.
Playwright Joe Sheridan (Douglas Fairbanks Jr.) is in love with the girl from first sight. Easton uses her one night and casts her aside, although from the set up it doesn't seem to be something he planned. Eva is just so naive that she thinks that this is the beginning of a beautiful relationship. Easton is such a coward he doesn't want to face her again.
RKO spent money on the stars for this one - they didn't rely on their stock company to populate it except perhaps for Hepburn who was under contract for several years and made her worst films for them. Only after she got away from RKO did she become great. But wasn't that true of everybody except for perhaps Robert Mitchum, Astaire, and Rogers?
The dialogue is very creaky, some of the scenes are too long, in particular the last one. And after watching it I was puzzled that Hepburn actually won her first Oscar for this, but not Alice Adams. So I looked up her competition. Only two other Best Actress nominees that year - Diana Wynward for the lead in one of the most puzzling Best Picture winners of all time - Cavalcade, and May Robson in Lady for a Day. So she won in a weak year.
If there had been Best Supporting Actress awards that year, I'd nominate Mary Duncan as diva Rita Vernon who is a completely obnoxious person who thinks her fame will last forever even though she is rounding the top of the hill. She trades catty remarks barb for barb and simply doesn't know what to do when confronted with the guileless Eva.
Lowell Sherman directed this one, and he got good performances out of everybody involved. I don't think I've seen a 30s film without a gimmick in it in which Fairbanks Jr. Looked better.
She bursts in on producer Joseph Easton's (Adolphe Menjou) office thinking because he actually said a few kind words to her in passing that there was some kind of professional connection there. She has several completely forward conversations in his office with complete strangers, and some react positively and some negatively. But it establishes who Eva is as a character.
Playwright Joe Sheridan (Douglas Fairbanks Jr.) is in love with the girl from first sight. Easton uses her one night and casts her aside, although from the set up it doesn't seem to be something he planned. Eva is just so naive that she thinks that this is the beginning of a beautiful relationship. Easton is such a coward he doesn't want to face her again.
RKO spent money on the stars for this one - they didn't rely on their stock company to populate it except perhaps for Hepburn who was under contract for several years and made her worst films for them. Only after she got away from RKO did she become great. But wasn't that true of everybody except for perhaps Robert Mitchum, Astaire, and Rogers?
The dialogue is very creaky, some of the scenes are too long, in particular the last one. And after watching it I was puzzled that Hepburn actually won her first Oscar for this, but not Alice Adams. So I looked up her competition. Only two other Best Actress nominees that year - Diana Wynward for the lead in one of the most puzzling Best Picture winners of all time - Cavalcade, and May Robson in Lady for a Day. So she won in a weak year.
If there had been Best Supporting Actress awards that year, I'd nominate Mary Duncan as diva Rita Vernon who is a completely obnoxious person who thinks her fame will last forever even though she is rounding the top of the hill. She trades catty remarks barb for barb and simply doesn't know what to do when confronted with the guileless Eva.
Lowell Sherman directed this one, and he got good performances out of everybody involved. I don't think I've seen a 30s film without a gimmick in it in which Fairbanks Jr. Looked better.