Five and Ten (1931) User Reviews

Not a bad way to spend an hour and then some...

[cbryce59 · 7/10 · 11 July 2012]

It is not a great pre-code film, but I gave it a 7 mostly because I enjoy Marion Davies.

I also like Leslie Howard as a rule, but in this case, I don't think he and Marion are a good fit; I can't see why she is so head over heels with his character. He does the usual priggish brush-off at one point, calling her nothing more than a cheap rich girl. Good grief, the men were prigs in a lot of these films, always lecturing and indignant, no matter how badly they had behaved up that point.

Marion has such a beautiful face, I can see why she was such a popular silent actress. As always she is dressed beautifully. And she does a good job here, her voice is good, not sign of a stutter.

I know most reviewers gave high marks to Douglass Montgomery, but I found him to be very stilted and stagey in the role of the son. Part of that is due to the lines he was forced to say, I will give him that. I found Richard Bennett to be stiff and actorly as well, but I will take into consideration the style of acting at that time, especially for the older actors who had been on the stage for many years.

All in all, a good enough drama.

About a family that is both amazingly rich and amazingly poor at the same time.

[planktonrules · 7/10 · 10 February 2013]

This is yet another Davies films with inexplicably high ratings. What I mean by this is that it appears as if a group of people have gone onto IMDb and deliberately over-inflated the scores on all of Marion Davies' films--giving 10s to EVERYTHING--even her worst films. No one is THAT good that they always deserve a 10--but here, 49% of those rating the film give it a 10. By comparison, "Gone With the Wind" and "Casablanca" have only 34 and 38% 10s!! Are these folks seriously trying to tell us that just about every film Marion Davies made are better than these classics?! So my advice with her films is to ignore the IMDb ratings and just see the films for yourself--some of her films were wonderful (such as "Show People"), some awful ("Cain and Mabel" comes to mind )and many were somewhere in between--just like it would be for most actresses.

John Rarick has created a hugely successful chain of five and ten cent stores--enabling his family to live in great luxury. However, this money does not make them happy. His wife runs around behind his back with other men, his son is slowly slipping into alcoholism and depression and, finally, his daughter (Davies) is trying too hard to fit in to society--and is laughed at by her new 'friends'. The main focus in this film is on the daughter--and her unhealthy relationship with a rich young architect (Leslie Howard).

Of all the characters in the film, Avery (Douglass Montgomery) is the most interesting. Unlike his sister, mother and father, he sees tragedy coming to his family. And, when he tries to tell his father, he can't even get this workaholic to listen to him. The film is a nice showcase for him and his story is quite touching--and, although it's a small role compared to Davies', he steals the show. Despite this, his career never really took off. Perhaps it was due to his good looks--he was amazingly pretty and not the conventional tough leading man type.

Overall, a very good film that is well worth your time. However, be aware that Davies' and Howard's portion of the film is probably the weakest. It isn't bad but its resolution seemed bizarre--and never would have occurred in a Post-Code film.

the second half is all pre-code

[becky-bradway · 7/10 · 7 October 2015]

This pre-code is very odd. Actually, very good. The first half is a naughty romantic comedy (sort of) that has the usual adorable Leslie Howard (can't help it, he's appealing as hell) and a kind of off-kilter Marion Davies. She seems a bit uncomfortable in this role -- maybe because it's an early talkie and she lisps? because it becomes dramatic and she isn't sure how to play it? Anyway, I was getting a bit annoyed with the whole thing when the movie does a real pre-code twist. Mom has an affair because mogul Dad is too busy with work. Brother has major mental health issues and suddenly takes up some very bad flying. And Heroine Marion takes on a role that reflects her own life by unrepentantly taking up with a now-married Leslie Howard. Things get...dark. So I found myself being impressed with the risks in this second movie (although I did laugh at some melodramatic moments). This movie doesn't apologize for anything. Marion is not punished for her love. Now that's new. She is defiant -- not just the character, but Marion Davies herself, I believe. I also appreciated the way it carried through its rich-man-neglecting-his-family theme to its most bitter result. This was surprisingly well done. No excuses are made for Dad's work obsession whatsoever. And Richard Bennett plays it subtly.

There are a few tremendous scenes. One involves a nocturnal visit to a rooftop. The other is a long drunken rant by the brother (Douglas Montgomery) in which he makes fun of Dad's obsession with money and success. Both of these are just lovely -- genuinely touching, I thought.

If you get a chance to see it, you should. It's an important movie in the Marion Davies pantheon, and Leslie Howard gets to be all charm. Just be patient and see where it goes.

Great Role for Marion Davies

[drednm · 22 October 2006]

Solid film with terrific performances by Marion Davies as an heiress, Leslie Howard as the man she loves, and Douglass Montgomery (billed as Kent Douglass) as her tragic brother.

Davies plays the daughter of wealthy "five and ten" king (Richard Bennett) who crashes New York to build his empire. He's obsessed with his business and ignores his family and wife (Irene Rich). Montgomery is in the business against his will while Davies tries to crash New York society with little success. She falls for Howard but he's engaged to snooty Muriel (Mary Duncan).

Things start to fall apart as Rich gets involved with a gigolo, Montgomery starts to drink, and Davies gets humiliated at a weekend party and loses Howard.

This film is notable for three exceptional scenes. There's a long scene all in one take where Davies and Howard are falling in love and toying with silly drawings of pigs and cows. The two stars are exceptional as they are drawn to each other yet try to stay apart. This is one of the best scenes I ever saw Davies do. Montgomery is great in his initial drunk scene as he wanders around the stone mansion, talking and singing to servants. He's also excellent in his final scene with the family gathered around him. Best work he ever did.

Overall one of Davies' best films because the story is solid and the co-stars are all top notch. And of all her dramatic roles this is her best. Her voice is excellent here. She often has a stilted quality because of her stutter but there's not a trace of that here. Plus she's absolutely gorgeous.

Halliwell Hobbes is the butler, Henry Armetta the cab driver, and Theodore van Eltz the gigolo.

Loosely based on Barbara Hutton, the Woolworth heiress, and her family. The building old Rarick is building is an obvious reference to the Woolworth Building, tallest building in the world 1913-1930.

What Wealth Does

[wes-connors · 6/10 · 13 July 2012]

After moving to New York City from Kansas, five-and-ten cent store heiress Marion Davies (as Jennifer Rarick) enters high society in style. Attending a charity event with her $5,000 donation from daddy, Ms. Davies is smitten with attractive architect Leslie Howard (as Bertram "Berry" Rhodes). But he is engaged to Mary Duncan (as Muriel Preston). While Davies decides to pursue Mr. Howard to the alter - even if it isn't her own - the rest of her family is falling apart. Strictly business-minded father Richard Bennett (as John G. Rarick) neglects wife Irene Rich (as Jenny). She sees more of gigolo Theodore von Eltz (as Ramon). And, nobody notices brother Kent Douglass Montgomery (as Avery Rarick) may headed for an emotional break-down...

Davies produced "Five and Ten" with director Robert Z. Leonard and, given the MGM team, delivers quality product. A bigger box office star than acknowledged during the "silent" 1920s, Davies was still popular, but not enough to cover production costs. Howard had enough star-quality to carry a film on his own, even this early in his career, but he and Davies are upstaged by others in the cast. One wonders if the original Fannie Hurst story had more involving the "Rarick" family. The effects of wealth on the characters is more interesting than the "love story" between Davies and Howard. An even distribution of resources and story might have helped "Five and Ten" recover costs. Watch for Mr. Montgomery's troubled "Avery" to steal the film.

****** Five and Ten (6/13/31) Robert Z. Leonard ~ Marion Davies, Leslie Howard, Douglass Montgomery, Richard Bennett

Worthwhile, But Somewhat Disappointing

[bandersnatched · 6/10 · 28 May 2010]

Five and Ten is about a young girl (the charming Marion Davies) who is trying to deal with being New Money, a fact that's tearing her family apart, and being in love with a to-be married rotter/architect (the frankly swoon-worthy Leslie Howard).

The focus of this really ought to have been in one place or the other, or else they should have made it into a longer picture, because important parts seemed rushed. Jennifer's brother Avery, for instance, was a great character who was rather important to the way the plot revolved, but far too little screen time is given to him. This is a particular shame as Douglass Montgomery really shone in this role. Instead, time is spent lingeringly on simple romantic scenes between the young lovers. Davies and Howard's chemistry was undeniably electric, making for a few surprisingly sexy scenes, but one can't help but feel that the editors ought to have made a few more judicious cuts and the writers a few additions.

Overall, it's worth a watch, though, even if you're not particularly interested in any of the actors, because of the relative strength of both pieces, whether or not they coalesce particularly well.

CEO moral tale.

[st-shot · 6/10 · 10 February 2012]

Ambitious John Rarick (Richard Bennet) is a shining example of the American Dream going from a "mom and pop" to mega chain store owner in the heady prosperous era of the Roaring Twenties. Moving from Kansas to New York he installs his once tight family into the lap of luxury and unintentionally off his radar screen. The attention starved wife (Irene Rich) begins to step out with other men while his son Avery (Kent Douglass) masking incestuous feelings begins to feel alienated and takes to self destruction. Sis Jenniffer ( Marion Davies) is upbeat but smitten with Berry (Leslie Howard) who is engaged to Muriel who seems to enjoy hurting Jen than being in love with Berry. It seems that success has brought with it its own set of problems.

There's an amoral attitude in Five and Ten that gives it a mature sophisticated feel. The wife has callers drop by the mansion, Jen shows little compunction about pursuing the spoken for Berry , Avery makes no bones about how he yearns for the days of when he was closer to mom and sis while pop meanwhile devotes his energies to profit margin. What could make for an absorbing depiction of a wealthy family in free fall ala Magnificent Ambersons (without the Welles touch of course) takes a back seat however to the the mawkishly stilted romance between Davies and Leslie Howard and the film suffers immeasurably as the two, especially Howard, chew scenery when they go to the clinches. Irene Rich and especially Kent Douglass contribute strong performances but it remains a Davies vehicle and with Howard as her driving partner they grind gears and mood most of the ride.

Davies and Howard's Chemistry Fizzles out in Melodramatics

[Cineanalyst · 4/10 · 27 July 2018]

"Five and Ten" is a pre-code early talkie vehicle for Marion Davies, who plays the daughter of a nouveau-riche family threatened by Fifth-Avenue high society. Her father owns a chain of five-and-dime stores (hence the title), the success of which leads him to uproot his family from Kansas City to New York. In the big bad city, the father focuses on business and neglects his family, the mother begins an affair, the son starts panicking and drinking, and the daughter chases after a man engaged to be married to another woman. And, the servants must listen to these rich people complaining. More money, more problems, huh.

Actually, it's a fairly light and entertaining picture at first, with Marion Davies flirting with the engaged man (played by Leslie Howard), who Davies pushes into doing some actual work. He's an aspiring architect, see, but he spends his time as a playboy instead, cheating on his fiancée. She draws herself as a cow, and she tries to make a gentleman out of him, who draws himself as a pig; or, as Howard's character puts it, she's a "cheap rich girl," and he's a "misunderstood man." Davies and Howard have chemistry in the beginning--before the film's later melodramatics ruin the fun.

"Five and Ten" would've been better as a screwball-type comedy, expanding on a film that already has a scene where Davies is spanked by her brother and another where Howard threatens to repeat the act, or where Davies employs her sexual wiles to manipulate Howard into working and breaking off his engagement. Other pre-code Hollywood products, after all, are more sensational and entertaining in exploiting such topics of divorce and infidelity. "Five and Ten," however, probably wouldn't have needed to be rewritten much if made in the Breen Era, and the film takes a nose-dive by the end into the melodramatic and clichés about the dangers of wealth, sex and big cities--you know, things that in reality are great.

It's eye-rolling stuff: adult children thrown into hysterics because their parents might be separating, Midwestern values threatened by big business and high-society scandal, Howard's would-be wife conveniently turning out to be the bad girl, and contrivances upon deus ex machina. "Five and Ten" also suffers from the usual problems of early talkies. It's creaky, requiring actors to enunciate and shout their lines lest they be inaudible. Action is largely confined to sound-stage interiors, with exteriors mostly serving as transitions. There's some dolly shots, tilting, panning and even a crane shot, but, for the most part, it doesn't relieve the staginess being enhanced by the slow pacing. With an average shot length of about 12.9 seconds (my count), "Five and Ten" isn't especially tardy for an early talkie, but it's too lethargic giving the film's settings and subject matter, and its heavy use of dissolves and fades doesn't help. The sparsity of shot/reverse shots is also felt in a film with so much talking. The two rear-projection shots and the obviously fake cityscape backgrounds used in two scenes are forgivable by comparison in this forgettable melodrama.

Classic story of wealth, greed and loss

[SimonJack · 8/10 · 17 October 2015]

Some reviews I've read about "Five and Ten" focus on the romance between Jennifer Rarick and Berry Rhodes. Others seem to be enthralled or perplexed (as the case may be) that this is a "pre- code" film. Well, neither of those aspects seem to be the driving force behind this movie. And they probably weren't in the novel by Fannie Hurst, on which this film is based. I know that films of old often were touted for their romantic leads, as they are today.

But this film was billed as a drama, and promoted as such. The romance between the two biggest name stars of the film is part of the bigger story. Marion Davies and Leslie Howard play their roles fine – as do all the cast. Some have noted that the acting of one or another of the players seemed stiff, or not convincing. Overall, there seems to be an air of reservation over the cast – that is, all except for Richard Bennett who plays John Rarick.

But this 1931 film is smack dab in the early years of the Great Depression. The Hurst novel was published in 1929 and probably came out before Black Tuesday, the Stock Market Crash of Oct. 24, 1929. That was the final nail in the coffin of prosperity, and the start of the Great Depression that would set the world on its heels for nearly a decade. Fannie Hurst didn't know that was about to take place when she wrote her book. But MGM knew that it was in full swing when it made the movie.

So, this was a time when Hollywood tried to do its part to help the country along. It did this by a prolific production of comedy films. And action and adventure films. And romances. And some gangster and crime films (Prohibition wouldn't end until 1933, and the era of crime bosses led to lots of criminal activity and street action that made newspaper headlines). But, still, Hollywood put out some serious dramas. And this was one of them. "Five and Ten" is loaded with social commentary of the time and with moral lessons.

We know that the Rarick family was very happy once. When the father was working and saving and struggling to begin his own store, he still had time for his family. They had great love. Reflections by young Avery Rarick and others allude to the happy days. Douglass Montgomery plays Avery well. He is the focal point on which the film turns between the happy, less rich times, the new wealthy times with no time for family, and a sort of redemption.

As this film opens, we see Rarick obsessed with growing his company to be the largest retailer in the world. The message of greed and power and what it does to a man and his family couldn't' be lost on anyone who saw this film in 1931. And it shouldn't be lost on anyone today. Into their new world of the wealthy of New York, the Raricks try to find their place. John is king, so he makes his place – unchallenged. Irene Rich as Jenny, John's wife, sees him slipping away from her with his new loves, business and power. She is torn when tempted by an affair with a handsome man. Jennifer tries to crash the blue blood society of New York but is rejected. Oh, she's welcome for her money, but she is excluded from the inner circles.

Berry has blue blood connections, but is an independent high-living socialite himself. He does have a trade and slight interest in architecture. He is engaged to Muriel Preston, played by Mary Duncan. As this melodrama plays out, Berry marries Preston, Jennifer is shunned by the wealthy crowd, John becomes the world retail king, Jenny goes off to leave him, and Avery tries to bring the family back together by getting drunk and committing suicide by crashing his plane. On his deathbed, the family members come to their senses – well, almost. John had offered Muriel a hefty sum to divorce Berry so that Jennifer could have her man. Muriel didn't love him anyway and could use the money. But Jennifer overhears and stops the deal. She wouldn't have a man her father had to buy. So instead, as the film ends, the remaining three Raricks are headed to Europe. Berry arrives at the pier to see them off. Jennifer expects him to follow her to Europe so that she can have her adulterous love affair with the married Berry. So, some people learn by tragedy, and some don't.

There's a very interesting and uncanny sidebar to this film. It's about the actress Mary Duncan who plays Muriel, Jennifer's nemesis in this film. She had been a success on Broadway and went to Hollywood. While making this film, she and Marion Davies became friends. The IMDb mini biography says that the two attended a polo match and Davies introduced Duncan to Stephen Sanford. He was a polo star and director of a huge carpet company (Bigelow-Sanford). Duncan and Sanford married in 1933. She quit acting, the couple moved to Palm Beach, Florida, and Mary became a true bon vivant and leader of Palm Beach society. The marriage lasted 44 years until his death in 1977. She lived to age 97 and died on May 9, 1993. She spent much of her late years working with several major charities. So, from a fictitious wealthy blue blood in a marriage without love, it seems that Mary Duncan found a real life of love with wealth.

Potential Fun Turns Turgid, Tiresome

[museumofdave · 6/10 · 2 October 2020]

A few days ago, I was fortunate enough to see Marion Davies in The Floradora Girl, a precode delight made a year before Five and Ten, a film full of zippy verve and romance, the kind of thing that Marion was really good at, getting into scrapes and hobnobbing with fellow chorus girls to figure out how to land a man.

This film also deals with how to land a man, but the man in this film is Leslie Howard, who seems ill-matched for the puckish quality of fun and frolic that shows Marion at her best; the pair comes close a few times to becoming more than puppets dealing with a slow-paced script, but the seems to be little real passion or give and take between them, instead a sort of scripted mooning that often brings the thing to a halt.

Among other things, the script deals with the problems of the nouveau-riche attempting to establish themselves into established society, and as a sidelight, the insensitivity of Marion's father, one of the most successful businessmen in New York, (played by Richard Bennet, so memorable some ten years later in Orson Welles' Magnificent Ambersons) losing his wife from inattention as well as alienating a son by insisting the kid become part of the new family empire, regardless of interest. Douglass Montgomery, listed in the film as "Kent Douglas," moons and mopes through most of the picture as an unmoored zombie, with a final scene that is ultimately just the opposite of its intention.

Five and Ten is not a bona-fide stinker, but much of it is a chore, and though it's always fascinating to watch Marion Davies try various character hats on, somebody forgot to give her a script not so gloomy and stage-bound and one more suited to her considerable skills as a comedienne.

More of a Five than a Ten

[FANatic-10 · 5/10 · 13 December 2016]

Understandably, this 85 year old film is quite dated and stilted by now, but it nevertheless has an 8.2 rating on IMDb. Seemingly the entire Marion Davies fan club must have voted it a ten, because otherwise this vote makes no sense at all. Davies isn't even good in it, though she looks lovely. Leslie Howard is stiff, Richard Bennett has moments where he seems to be struggling to remember his dialogue, and Irene Rich and Douglass Montgomery are absent for long periods of time, their characters there simply to make plot points. Montgomery actually has some good scenes, but then at the end is involved in a climactic scene that really comes out of nowhere. Basically, this is just for Marion Davies fans, who apparently think anything she was in is gold.

Sexy Pre-Code

[Maleejandra · 9/10 · 11 May 2008]

The Rarick family is what you would call new money. John Rarick inherited a small five and ten from his wife (Irene Rich) when they married and he used his business sense to expand on a national level. Now, the family lives in New York where the family tries to adjust to new social conditions. Mrs. Rarick is lonely and takes up with a gigolo. Jennifer (Marion Davies) does her best to get her foot into society. Avery (Douglass Montgomery) worried about the state of his family and dreads inheriting his father's company. Jennifer falls in love with a notable playboy (Leslie Howard) who is engaged to a snobby rich girl. However, he can't help but be charmed by Jennifer's wit and does his best to seduce her.

This is a pre-code film, and an incredibly sexy one at that. Sparks fly in Howard and Davies' scenes together. When he trickles his fingers across her bare arm, you can just feel the goosebumps rising. When her big blue eyes look into his, the tension is so strong. The two actors are amazing together and make for fantastic viewing in lieu of the average storyline. Montgomery is just as impressive in his secondary role. His lines are obviously scripted, but he reads them with a naturalness that is uncommon in these early movies. Robert Z. Leonard's direction is refreshing because he does not revert to a static camera, which was prevalent in early talkies. A noteworthy film and a must-see for Howard or Davies fans, Five and Ten deserves a DVD release.

Rarick family values

[bkoganbing · 5/10 · 26 June 2018]

Watching this on television I was saying to myself this film has a Back Street like quality to it. Sure enough as I came on this board to write a review I see it is based on a Fannie Hurst novel.

Five And Ten casts Richard Bennett and Irene Rich as Mr.&Mrs. John Rarick who have come to New York to mix and mingle with really high society. Daughter Marion Davies looks forward to the move, but son Douglass Montgomery likes Kansas City where they came from.

The Back Street element comes to play when Davies falls for playboy architect Leslie Howard in a characterization obviously based on Stanford White. But Mary Duncan has staked out a claim and she's guarding it zealously. Howard marries her and Davies takes the Back Street route.

Acting honors here go to Douglass Montgomery best known for his role in Little Women. He really excels here in his fish in a bigger pond than he's used to role.

Davies and Howard are also quite good as the leads. Sadly I think that Five And Ten is a bit too old fashioned for today's taste. Back Street may yet get another remake, but I doubt this will.

Tearful Troubles For Marion Davies

[Ron Oliver · 10/10 · 5 September 2001]

The daughter of a FIVE AND TEN store mogul is accused of trying to crash high society when she falls in love with a handsome architect.

As mistress of William Randolph Hearst & chatelaine of San Simeon, California's most fabulous residence, Marion Davies was a Very Important Star at MGM in the early 1930's. A good actress & extremely talented comedienne, she longed to venture out into strongly dramatic roles. Unfortunately, Hearst preferred seeing her in lightweight fluff films, and even soap operas, which FIVE AND TEN unmistakably is, still left her with some silly plots to wade through. Hearst's crushing grasp on her career at MGM, and later at Warner's - even with an occasional good picture - explains as well as anything else why her films have remained so obscure for decades.

Despite lavish production values, Davies & her romantic interest, Leslie Howard, are bogged down by the turgid story line, making it difficult for the audience to find much empathy with their wealthy woes. Davies' infectious good spirits and Howard's trademark sophistication only rarely are allowed to escape. Their one good sequence - locked on the rooftop of the world's tallest building for a night - comes too late.

Irene Rich, as Davies lonely mother, fares little better.

The film does boast two excellent performances, however, which should be noted. Veteran stage actor Richard Bennett (1872-1944) is splendid as Davies' distracted father, a man so obsessed with accumulating more power that he doesn't notice the disintegration of his own family. As Davies' disillusioned younger brother, Kent Douglass (1907-1966) is first-rate in a role which has him descend from giddy youth into eventual depression & madness. Both gentlemen rescue the film from completely sinking into melodramatics.

Movie mavens will recognize Henry Armetta as a cabby, and the wonderful Halliwell Hobbes as Bennett's butler, both uncredited.

Solid Davies Vehicle

[Dr. Ed-2 · 10/10 · 9 January 2001]

Marion Davies is wonderful as the Barbara Woolworth-like heiress in this comedy-drama. Despite her money (from her dad's five-and-dime-store) she is snubbed by snooty society girls at parties and as she vies for the love of a rich boy. Certainly one of Davies' better performances; she is quite charming.

Stiff and Flat Melodrama

[Michael_Elliott · 6 August 2012]

Five and Ten (1931)

** (out of 4)

Extremely boring melodrama has the owner of a chain of Five and Dime stores moving his family to New York City and it doesn't take long for his daughter (Marion Davies) to get involved with society. There she meets a young man (Leslie Howard) who she thinks is for her but soon one problem after another hampers their relationship. Having watched this just minutes after Davies' earlier film THE FLORODORA GIRL, it's quite apparent that this must have been a production that William Randolph Hearst had his hands in. Unlike the previous film that took drama and mixed in great comedy, a strength of Davies, this film here just milks everything so dry by trying to be so dramatic and serious by the time the ending comes you're either going to be asleep or simply not caring what happens. This is an incredibly dry and boring melodrama that each second seems to be screaming out at the viewer to be "impressed" with what's going on. Each scene is just presented in such a "proper" and "serious" manor that you have to wonder if these people ever have any fun. Davies does what she can with the role but this here certainly isn't a highlight of her career. Howard appears smothered by everything and the two really don't have much chemistry. FIVE AND DIME remains mildly entertaining thanks to the stars but at the same time you know you're just watching fluff.

big names & fun story = good

[ksf-2 · 8/10 · 5 September 2021]

Couldn't ask for bigger stars than that, in the 1930s... marion davies and leslie howard. When the family moves from kansas to new york city, daughter wants to find a crowd where she can belong. The problem is, dad got rich running a chain of 5&10 cent stores. And the people of the big city don't respect that, in spite of the effort the family makes. All these years dad has been so busy running the company, he doesn't see the troubles in his own family. His wife is spending time with another, and his daughter is running after a gentleman who is already engaged. Some drama when tragedy strikes, but it's self inflicted, so not sure how emotionally involved we can get. Story kind of takes some left and right turns. It's good! If you buy into it all. Directed by robert leonard. Nominated for two oscars... ziegfeld and divorcee.