Bed Of Roses is the fourth and final film that Joel McCrea and Constance Bennett did which certainly should qualify them as a screen team. Paired by RKO Pictures the two worked well together.
The fact that both Bennett and Pert Kelton are a pair of prostitutes recently released from prison qualifies this film as a before the Code classic. The picture is quite frank about what they do.
In fact they're back doing it as soon as they're released shows they haven't repented. But both are looking for some comfortable permanent arrangements. For Kelton she manages to rope a traveling salesman, but in that same dodge Bennett jumps off a Mississipi riverboat fleeing from the captain after she's caught rolling another of the salesman for his dough.
Where she's picked up by Joel McCrea who runs and lives on a cotton barge. Thanks, but no thanks says Bennett, she's after bigger game and lands it in the person of New Orleans millionaire John Halliday.
I won't say any more, you know how this will end. And remember this is before the Code went in place. The lack of the Code made motion pictures a lot more free with details, but the American movie-going public expected stories to go a certain way.
What might have been nice is a bit more of Pert Kelton, her scenes have some real bite to them, but Bennett and McCrea acquit themselves well here.
The fact that both Bennett and Pert Kelton are a pair of prostitutes recently released from prison qualifies this film as a before the Code classic. The picture is quite frank about what they do.
In fact they're back doing it as soon as they're released shows they haven't repented. But both are looking for some comfortable permanent arrangements. For Kelton she manages to rope a traveling salesman, but in that same dodge Bennett jumps off a Mississipi riverboat fleeing from the captain after she's caught rolling another of the salesman for his dough.
Where she's picked up by Joel McCrea who runs and lives on a cotton barge. Thanks, but no thanks says Bennett, she's after bigger game and lands it in the person of New Orleans millionaire John Halliday.
I won't say any more, you know how this will end. And remember this is before the Code went in place. The lack of the Code made motion pictures a lot more free with details, but the American movie-going public expected stories to go a certain way.
What might have been nice is a bit more of Pert Kelton, her scenes have some real bite to them, but Bennett and McCrea acquit themselves well here.