There is just so much to say about this rather obscure little film that is unremembered today.
This light piece of early sound Warner Brothers is between so many different worlds. It's between the roaring twenties and the Great Depression. The roaring twenties are over but the poverty of the 30s have not yet arrived. Thus you have a night club and act worthy of the roaring twenties. And nobody after the roaring twenties would have continually called a grown man "The Imp" (David Manners' character) versus his right name.
It's between two wars - the two world wars, and so you have a trio of men who appear to have had their friendship founded in the military - though they never come out and say so. The dead friend they continually refer to - heck, Conway Tearle's character has been raising his son for 15 years! - probably died in military service, thus the debt they feel and the reason all three consider themselves the lad's wards. It's far enough away from WWI at this point that one can speak of war somewhat romantically.
This film is also between the silent and sound eras. 1930 was actually the first full year of talking films, and the industry hadn't yet quite gotten down the art of doing sound film. Thus there is an over powering score that drowns out conversation in some parts, and there is absolutely no score in others to the point that I expect to hear crickets chirping.
Then there is their choice of stars during this transitional period. Of course, Loretta Young at 17 does a grand job and she had a career that straddled both the silent and sound eras. David Manners may be unfamiliar today, but he was the juvenile lead in practically every film made until 1936, when he suddenly retired. The odd bird in the cast has to be Conway Tearle in the lead as a man trying to save his ward , "the Imp" from a gold digging temptress (Myrna Loy). Tearle had a good voice, and in the early sound era that was enough to get you leads for a couple of years. Tearle had the good fortune to be the lead in Warner Brothers' biggest hit until Robin Hood in 1938, that being 1929's "Gold Diggers of Broadway". Unfortunately, physically, Tearle was so non descript that career criminals would have killed to look like him - He is just so neutral in his features that he is impossible to describe. Once more distinctive actors begin to arrive on the scene such as Cagney and Gable, Tearle was pretty much out of leading roles.
Finally let me say something about Myrna Loy. She plays here, as she often did at her time at Warner Brothers, the exotic temptress. In this case she is Kara, "The Firefly", the star of a nightclub act wo wants to marry David Manners' "the Imp" for his money which he doesn't happen to have.. She is spotlighted singing songs not written for her with a singing voice that is not hers either. I'm sure she was grateful to find a home at MGM where she spent a good part of her career playing normal people, gaining the slogan - "Myrna Loy, so nice to come home to".
This light piece of early sound Warner Brothers is between so many different worlds. It's between the roaring twenties and the Great Depression. The roaring twenties are over but the poverty of the 30s have not yet arrived. Thus you have a night club and act worthy of the roaring twenties. And nobody after the roaring twenties would have continually called a grown man "The Imp" (David Manners' character) versus his right name.
It's between two wars - the two world wars, and so you have a trio of men who appear to have had their friendship founded in the military - though they never come out and say so. The dead friend they continually refer to - heck, Conway Tearle's character has been raising his son for 15 years! - probably died in military service, thus the debt they feel and the reason all three consider themselves the lad's wards. It's far enough away from WWI at this point that one can speak of war somewhat romantically.
This film is also between the silent and sound eras. 1930 was actually the first full year of talking films, and the industry hadn't yet quite gotten down the art of doing sound film. Thus there is an over powering score that drowns out conversation in some parts, and there is absolutely no score in others to the point that I expect to hear crickets chirping.
Then there is their choice of stars during this transitional period. Of course, Loretta Young at 17 does a grand job and she had a career that straddled both the silent and sound eras. David Manners may be unfamiliar today, but he was the juvenile lead in practically every film made until 1936, when he suddenly retired. The odd bird in the cast has to be Conway Tearle in the lead as a man trying to save his ward , "the Imp" from a gold digging temptress (Myrna Loy). Tearle had a good voice, and in the early sound era that was enough to get you leads for a couple of years. Tearle had the good fortune to be the lead in Warner Brothers' biggest hit until Robin Hood in 1938, that being 1929's "Gold Diggers of Broadway". Unfortunately, physically, Tearle was so non descript that career criminals would have killed to look like him - He is just so neutral in his features that he is impossible to describe. Once more distinctive actors begin to arrive on the scene such as Cagney and Gable, Tearle was pretty much out of leading roles.
Finally let me say something about Myrna Loy. She plays here, as she often did at her time at Warner Brothers, the exotic temptress. In this case she is Kara, "The Firefly", the star of a nightclub act wo wants to marry David Manners' "the Imp" for his money which he doesn't happen to have.. She is spotlighted singing songs not written for her with a singing voice that is not hers either. I'm sure she was grateful to find a home at MGM where she spent a good part of her career playing normal people, gaining the slogan - "Myrna Loy, so nice to come home to".