Ladies They Talk About

Barbara Stanwyck (Nan Taylor), Preston Foster (Dave Slade), Lillian Roth (Linda), Lyle Talbot (Don), Dorothy Burgess (Susie), Ruth Donnelly (Noonan), Robert McWade (district attorney), Maude Eburne (Aunt Maggie), Cecil Cunningham (Mrs Arlington), Grace Cunard (Marie), Helen Mann (Blondie), Harold Huber (Lefty), Madame Sul-Te- Wan (Mustard), Louise Carter (Lefty's landlady), Harold Healy (Dutch), DeWitt Jennings (Detective Tracy), Helen Ware (Mrs Johnson, head matron), Louise Emmons (Jessie Jones), John Hyams (bank manager), Ray Turner (bank janitor), Harold Minjir (bank teller), Harry Gribbon (bank guard), Davison Clark (jail chief), Robert Warwick (warden), Helen Dickson (lady with cigar), Mary Gordon (prisoner in visiting room), Isabel Withers (prisoner), Jack Baxley (man seated next to Slade at revival meeting), Harry C. Bradley (little man in corridor at revival meeting), Tom McGuire (Farnum, an official at revival), Ferris Taylor (man on stage at radio broadcast), William Keighley (man getting a shoeshine). Director: HOWARD BRETHERTON. Version released in USA (and currently broadcast by TCM) partly re-shot by WILLIAM KEIGHLEY. Screenplay: Brown Holmes & William McGrath & Sidney Sutherland. Based on the play Women in Prison by Dorothy Mackaye & Carlton Miles. Photography: John Seitz. Film editor: Basil Wrangell. Art director: Esdras Hartley. Costumes designed by Orry-Kelly. Songs: "If I Could Be With You" (Roth) by James P. Johnson (music) and Henry Creamer (lyrics); "St Louis Blues" (sung off-camera by Etta Moten) by W.C. Handy; "Are You Lonesome Tonight?" by Roy Turk and Lou Handman. Music director: Leo F. Forbstein, conducting The Vitaphone Orchestra. Music: Cliff Hess, Stills: Homer Van Pelt. Assistant director: Ben Silvey. Sound recording: Charles Althouse. Producer: Raymond Griffith. A Warner Bros. Picture. Not copyright. Worldwide release through Warner Brothers Pictures, Inc. U.S. release: 25 February 1933. New York opening at both the Capitol and Loew's Metropolitan: 24 February 1933. U.K. release: 15 July 1933. 69 minutes SYNOPSIS: Evangelistic reformer falls in love with a gun moll from his old home town. NOTES: Harold Huber does not appear in the Howard Bretherton version released in England (and presumably also in Australia). In the Bretherton movie, Lyle Talbot visits Stanwyck in prison. In the Keighley version, Talbot was instead substituted for one of the escapees and was, by clever intercutting with the Bretherton footage, killed. In the Bretherton version, the two men were merely caught. This does give the heroine a better reason to shoot Slade and makes her action more believable. COMMENT: Unless you're aware that Keighley directed part or all of several key scenes, the work of the two directors is hard to pin down. The Lillian Roth footage is obviously Bretherton's work, but the impressive scenes with Ruth Donnelly and her white cockatoo were probably also his. And what about the three very striking encounters between Stanwyck and DeWitt Jennings in which the sparks fly (even under what seems to be a civil surface)? And how about the Preston Foster revival material with its sweeping crowd shots? Yes, if you can disregard the somewhat incredible story-line (easy enough to do while the quick-paced movie is actually running) and its remarkable picture of a women's jail (allegedly San Quentin, according to some reviewers), you can accept (and enjoy) the theatricality of the milieu without question. On this basis, "Ladies They Talk About" emerges as a most fascinating movie with acerbic portraits all down the line, particularly from Stanwyck's chiseling, chip-on-the-shoulder heroine, Foster's self-first reformer, Dorothy Burgess's numbingly accurate study of a religious fanatic and Robert McWade's opportunistic district attorney. It's also good to see Lillian Roth in a sizable role (and given a chance to sing too).

This is a hard film to review. There is a lot to like and a few things to dislike in it. So lets break them down: The bad: 1: The parrot scene with the ugly black woman. The entire scene made me cringe. There was no benefit or reasoning behind this scene even being in the film. 2: The length of the film. It was only 69 minutes. There was a lot of story to tell and there simply was not enough time to tell it in. Stuff like the parrot scene, and not getting into depth David Slade's (Preston Foster) opposition to politicians and the newspapers was a major mistake. If you don't think the politicians and papers would have had a field day with him being involved with and spoilers ahead: Marrying a convicted felon like Nan Taylor (Barbara Stanwyck), and then you believe in Santa Claus. In addition, Stanwyck is almost always worth watching (Except "Walk On The Wild Side", a film without a single redeeming factor). So show us more about her (Like why she went from a preacher's daughter to being so rotten (Which is what they did in her next film "Baby Face")). The good: 1: Linda (Lillian Roth: She was really my favorite character, a person who was probably a lifer (Based on the fact she was in San Quentin before Nan got there and after she left), yet she never became a hater, and all she wanted was friendship from Nan. I usually detest singing in a film, but the scene (Spoilers ahead) of her singing to a photo of Dick Powell was well done. 2: Stanwyck: As usual I like her in this film, and in particular (Spoilers) when she punches out "Sister Susie" (Dorothy Burgess), for framing her over a letter. This is what you could have expected from Cagney. Also when Susie calls the cops for shooting Slade, and she makes her look pathetic by putting a "Do Not Disturb" sign over the keyhole where she was peeking, and this little exchange with Susie: Susie: Say, there isn't any punishment bad enough for you! Nan Taylor: Yeah? Well, being penned up here with a daffodil like you comes awful close. It is a strange film, because Roth & Stanwyck were so good, it could have been a classic, but the parts I disliked (Particularly the parrot scene) really were that bad, I had to deduct stars from it. 7/10.

Am a fan of films from the 1930s and have for a while loved Barbara Stanwyck and many of her performances (regardless of what the rest of the film is like). Have always liked any film crime-related, with mystery, thriller and crime being my preferred genres (adore animation too but there is debate as to whether to class that as a genre) and there are a lot of good melodramas and good films that mix the two. Am somewhat less keen on Preston Foster though. 'Ladies They Talk About' is a very uneven film and not a particularly great one. If anything it is more a slightly above mixed feelings kind of film for me. There is a lot to recommend and it was interesting to see a depiction of life in a women prison, even if it won't ring true for a lot of people (best judging it on its own terms). Despite the improbable story and the even more improbable ending, Stanwyck, most of the supporting performances and the script elevate. There are plenty of good things with 'Ladies They Talk About'. It is well made, with a good deal of style and atmosphere. It is good that 'Ladies They Talk About' doesn't go on for too long and it never felt dull to me. It is an entertaining film with some nice acid comedy and the melodrama generally doesn't go over the top, despite going off the boil towards the end. The crime element is intriguing and doesn't play second fiddle too much, and the look at life in a women prison is sincere enough. Stanwyck gives a cool lead performance that leaves one riveted, while not being as intense compared to usual. She gets great supporting turns from Ruth Donnelly, Lyle Talbot and particularly Lillian Roth, their chemistry being the most interesting and having the most growth. Was far less convinced by Foster, who makes absolutely no impact in a preposterous role that is the sketchiest in 'Ladies They Talk About'. He has no real chemistry with Stanwyck and their subplot is very developed. Moreover, the story is highly unlikely and sometimes silly and while well-intentioned the portrayal of prison life is almost too idealised. And there were films in the 30s and throughout the decades pre-70s that did have an ahead of the time grim, uncompromising and realistic portrayal of prison life, such as 'The Big House'. Worst of all is the improble and cop-out ending, which is far too out of the blue (a sudden change of decision and opinion just like that), too hasty in pace and it makes no sense compared to what happens throughout the rest of the film. This was studio-interference-like and almost insulting. In a nutshell, worth a one time look but not great. 6/10

Part of a bank robber gang, a woman is sent to prison, while carrying on a tepid romance with an evangelist. Stanwyck (Nan) is nearly the whole show in this early crime drama from street-wise Warner Bros. She's one tough cookie, and when she struts cocksure into a room full of other tough prison cookies, we believe it. No wonder she had one of Hollywood's most durable A-picture careers. But watch out for that dimpled cutie Lillian Roth (Linda) who almost steals the film with a big helping of winsome charm. The prison tour she makes with a silent Stanwyck is clearly intended to showcase that dimpled appeal. Too bad she had such a problem with booze; in my book, she could have been a big star, especially in musicals. The movie itself is just okay. Unfortunately, the supposed romance between Stanwyck and a simpering Preston Foster undercuts much of the movie's stab at realism. But then I guess someone had to set Nan on the straight and narrow. Clearly, the best scenes are in prison. There we see an unusual line-up of characters, thanks to the pre-Code period. These include such exotic types as the one-and-only Maude Eburne (Aunt Maggie) as a wacko grandmother from heck, a cigar-smoking butch matron (Dickson) whose daring type would disappear from the screen for decades, and even an "uppity" black woman (uncredited) who takes no lip from anyone, black or white. Still, it's Stanwyck's movie, and there's enough of her trademark grit to please her many fans, myself included.

LADIES THEY TALK ABOUT is a really hokey melodrama, an early BARBARA STANWYCK film that has her as an accomplice in a bank robbery and serving time in prison. Meanwhile, she has an affair with PRESTON FOSTER which really makes no sense at all. She hates him all through the film for various reasons and even shoots him in a heated moment toward the end, but then relents and discovers that she's been in love with him all along. It's amusing to watch all the pre-code attempts to give the film some realism with implied relationships of a lesbian nature, but at least RUTH DONNELLY is on hand in a key supporting role as one of the prison matrons with a unique way of scaring inmates. It's Stanwyck's performance that saves the film from complete banality. She gives every scene the punch it needs with a tough performance that still manages to show some vulnerability. LILLIAN ROTH is just okay as a fellow prisoner showing her the ropes and LYLE TALBOT is on hand as her doomed boyfriend. Nothing special as far as prison dramas go, but whatever it has it owes to Stanwyck. PRESTON FOSTER, without his trademark mustache, has a role that makes almost no sense, especially in that final scene where he protects her for seemingly no good reason. Summing up: Worth a look for Stanwyck's performance.

Barbara Stanwyck, (Nan Taylor) plays the role of a gal who came from the school of hard knocks and has joined up with some gangsters and they plan to pull off a bank robbery. Nan acts as a decoy and convinces the bank guard to open up the bank early so she can make a deposit and carries in a small dog and hands it to the guard, and right behind her the gangsters friends follow in and rob the bank. A detective notices Nan in the bank and remembers her face from previous criminal events she got herself into and arrests her. Dave Slade,(Preston Foster) plays the role as a preacher politician, and remembers Nan from their childhood days and tries to free her of all the charges against her, however, Nan tells him the truth and she winds up in prison with plenty of women who are all a bunch of wild characters. There is even a butch lesbian who likes to smoke cigars and wrestle with other gals. This is a great classic film with veteran actor Lyle Talbot, (Gangster Dan) who breaks into Nan's cell along with her gangster friends in order to bring her back to their world of crime.

Early Barbara Stanwyck who is about as bad as they get. She participates in a bank robbery, manipulates men, lies, and gets sent up to the big house. Plot is somewhat far fetched with little character development other than for Barbara. Story revolves around whether Barbara will again allow Preston Foster to try to save her after trusting him once and having him fail to live up to her expectations. Stanwyck is patterned after the real life experiences and play by Dorothy Mackaye who repeats the formula in Lady Gangster (1942). This movie is worth watching to see the early Stanwyck or the depiction of woman's prison life. Apparently women inmates were allowed to fix up their rooms real nice and change from prison clothes into street clothes during visiting hours -- or so Hollywood would tell us. Sure would have made it easier to escape!

Ladies They Talk About (1933) ** 1/2 (out of 4) Pre-Code from Warner about a woman (Barbara Stanwyck) sent to prison after helping commit a bank robbery. She befriends a preacher who says he loves her but she begins to have her doubts. What starts off as a rather interesting prison drama soon falls apart with the sappy love story. Another major problem is that Stanwyck's character is such a mean bitch you can help but want to see her dead and the ending really kills the film. You can catch this on TCM.

Nearly twenty years before CAGED, LADIES THEY TALK ABOUT touched the theme of women in prison with a much lighter touch. Barbara Stanwyck, this time, is at the helm as the ingénue sent to prison by her no-good boyfriend played by Preston Foster, although you wouldn't know it since this prison resembles more of a posh boarding house than the hell CAGED would present much later. Stanwyck is her usual gritty self (which is saying, she's fierce and elevates what would have been a throwaway role) as the girl who toughens up, and there is one of the earlier references info lesbianism thrown in as an oblique character who "likes to wrestle". It's probably more memorable due to the fact of being made in Hollywood's Pre-Code years, but if at all for an early Stanwyck, it's worth a shot. Look for Lillian Roth in a supporting role, one of the few she made during her short career before collapsing into almost absolute ignominy.

By force of personality, one of the best the screen ever saw, Barbara Stanwyck put over many a film, especially if she had something to work with. But there were films where even she could do nothing with the potboiler material she got and Ladies They Talk About is definitely that kind of material. The odd thing is that this with a little more subtle treatment could have been as remembered a women's prison picture classic like Caged. There are moments here, but few and far between. Stanwyck is in a role that probably Joan Blondell was too busy to do. She's a wisecracking Depression Era babe getting by on her wits and looks. She's the front for a gang of bank robbers headed by Lyle Talbot. As the film opens Stanwyck and the gang rob a bank with them getting away and Barbara being caught. She goes to prison, but not before running into radio personality and 'reformer' Preston Foster who was from their old home town. Later on Talbot and company also get arrested and are in the men's section of the same prison. After this the plot gets so ridiculous and shrill that it boggles the mind. Barbara still loves Foster buts hates him as well for what she conceives as betrayal. It really was actually, but that depends on your point of view. And Foster actually looks embarrassed on screen mouthing a lot of sanctimonious blather. He's a 'crusader' whatever that means. The best way you can describe him is he's a kind of a Billy Sunday without the degree from the seminary. Foster must have kicked and screamed about this part and should have fired his agent. The best scenes are in the prison and they hold up. But overall the film is horribly dated with characters that people would laugh off the screen today.