An alcoholic sports reporter misses the Tunney-Dempsey fight he was supposed to cover, and is fired from his job. Despite being a mess, a kind aspiring artist helps him out, and the two become lovers. They believe in 'free love,' not marriage, and their relationship is open. They live together but at one point she doesn't see him for eight days; she doesn't mind that he's been sleeping around or want to know what he's been up to, saying to him, "so long as you come back to me." Meanwhile, quite improbably the man has gotten a job in advertising and quickly risen to being not just a partner in the business, but the driving force behind its success. One of the clients he takes on is a beautiful woman, and after wearing her down, he becomes her lover too. The rub is that she cramps his style, expecting him to show up for dinner and then wanting to get married to him. He thus apparently has a choice in both women and lifestyles.
It sounds like pretty spicy pre-Code fare and I guess the idea is pretty daring, especially since the couple at the beginning seem quite happy with their relationship. However, as there really isn't much passion on display and little chemistry in either pairing, it actually seemed pretty tame. The cast doesn't have big stars (Richard Dix is the man, Elizabeth Allen the artist, and Doris Kenyon the client), and that might have been part of the problem. More significantly, though, the film doesn't really want to commit itself to this idea of "no marriage ties," or exploring what that means in an honest way. The character of the artist has no depth and comes across more as a sweet fantasy than a real person. The film then veers off into the guy's immorality in the advertising business, selling products that don't work or are harmful, a subplot that takes a life of its own and leads to a dreadful expository speech near the end. Good grief that was bad. It then seems to link what he's doing as an advertising exec with his lifestyle and its consequences, wrapping it all up in a bundle that's rather traditional and conservative.
At 72 minutes though, at least it moves along, and there are some fun little bits to this film that made it entertaining. While drunk the guy refers to his boss as a "sh*t faced mongrel," for example. Another thing is the guy's office being equipped with a giant bar on a revolving stand; he comes in and his secretary wheels it open, pours him a shot, and tells him "Your breakfast," while handing it to him. By contrast, his client's office has some lovely little Art Deco touches and beautiful lettering on the office doors. When he's dating her she takes him to a performance from "The Russian Art Players" where we see a scene of a couple of peasants speaking Russian; he then takes her to a wrestling match the next time they're out. While in the Caribbean and she's in his arms on a boat, we hear a lovely little bit of the song "Venezuela" from a voice that I wish had been credited. With these kinds of things and the initial challenge to traditional marriage I would have given it a slightly higher rating if it hadn't slipped off the rails at the end; regardless, you could do worse than seeing this one.
It sounds like pretty spicy pre-Code fare and I guess the idea is pretty daring, especially since the couple at the beginning seem quite happy with their relationship. However, as there really isn't much passion on display and little chemistry in either pairing, it actually seemed pretty tame. The cast doesn't have big stars (Richard Dix is the man, Elizabeth Allen the artist, and Doris Kenyon the client), and that might have been part of the problem. More significantly, though, the film doesn't really want to commit itself to this idea of "no marriage ties," or exploring what that means in an honest way. The character of the artist has no depth and comes across more as a sweet fantasy than a real person. The film then veers off into the guy's immorality in the advertising business, selling products that don't work or are harmful, a subplot that takes a life of its own and leads to a dreadful expository speech near the end. Good grief that was bad. It then seems to link what he's doing as an advertising exec with his lifestyle and its consequences, wrapping it all up in a bundle that's rather traditional and conservative.
At 72 minutes though, at least it moves along, and there are some fun little bits to this film that made it entertaining. While drunk the guy refers to his boss as a "sh*t faced mongrel," for example. Another thing is the guy's office being equipped with a giant bar on a revolving stand; he comes in and his secretary wheels it open, pours him a shot, and tells him "Your breakfast," while handing it to him. By contrast, his client's office has some lovely little Art Deco touches and beautiful lettering on the office doors. When he's dating her she takes him to a performance from "The Russian Art Players" where we see a scene of a couple of peasants speaking Russian; he then takes her to a wrestling match the next time they're out. While in the Caribbean and she's in his arms on a boat, we hear a lovely little bit of the song "Venezuela" from a voice that I wish had been credited. With these kinds of things and the initial challenge to traditional marriage I would have given it a slightly higher rating if it hadn't slipped off the rails at the end; regardless, you could do worse than seeing this one.