This is a pretty clever, well-acted version of the "modern" 30s woman's fairytale romance. In this case, she helps the man she loves become head of the company while serving as his secretary and eventually wins his love from a scheming social butterfly. Interestingly, her business sense is shown as subtly parallel to her homemaking prowess, and the ladies of the office are depicted as the "powers behind the throne." Lifted way above the average by Mrs. Astor's intelligent performance.
22 Reviews
Mary Astor Does Well; Robert Ames is Forgettable
holdencopywriting2 March 2007
Warning: Spoilers
There's a good running bit about the price tag of a silk negligee. The bimbo in the office shows off the bargain she got for $22 (closeup of tag). Later, Mary Astor finds the tag in the boss's bedroom (proof that bimbo slept with him). Still later, Mary Astor is about to have an affair with Ricardo Cortez, looks at the price tag of HER silk negligee ($14) and is reminded of how disgusted she was about the bimbo, as well as the fact that she's spent $8 less than the "most obvious" woman she's ever met. It sounds an obvious morality turn, but it was well done. The film would be stronger if Robert Ames' character had been played by a more powerful actor (he's too low-key for a self-made salesman and he spends most of the film with his face turned away from the camera), and if Ricardo Cortez had been given more to do than smile ironically. Both male leads are bland and forgettable, and are hindered by the pancake male makeup so popular in this film's era. However, the Mary Astor character is interesting, appealing and believable. Behind Closed Doors is well worth seeing.
Pre-Code...and then some!
planktonrules21 June 2010
I know I have seen this film before or at least one very, very similar to this. However, for once, IMDb is of no help at all using its keywords and it shows nothing in regard to movie connections. If you know what the remake for this was titled, let me know.
For those who don't know what the term "Pre-Code" refers to, this is a film made mostly in the early 1930s--up to 1934. While there was a Production Code that supposedly controlled inappropriate content in American films, it was rarely enforced and the films of this era were occasionally very risqué--even by today's standards. While the films following the adoption of a strengthened Code in 1934 were quite tame, pre-code films had some shocking moments such as nudity (yes, Grandpa and Grandma were NOT as prudish as you'd imagine), adultery, homosexuality and cursing. And, occasionally sin was not just condoned but was rewarded by the end of the film! "Behind Office Doors" is clearly a pre-code film in its sensibilities--though it's not as shocking as "Red-Headed Woman" (but what is?!). The film features some adulterous situations, 'free love', a man smacking a woman on the rear (plus she isn't his wife), sexy lingerie, a smart and conniving career girl who smokes and drinks and likes men (Mary Astor), references to hashish, wild parties and lots of sexually-charged banter! However, and this is very odd, but midway through the film the pre-code trashy elements mostly disappear. The resulting film is very good but had one glaring problem that irritated me a tiny bit.
The film begins with Astor meeting a handsome guy (Ricardo Cortez). He is instantly smitten with her, but her mind is focused on an executive at work (Robert Ames). Plus, she learns that Cortez is already married. For much of the movie, Mary works to make the man she's infatuated with (Ames) and pulls strings to make him successful. Oddly, despite being successful, Ames is a bit of an idiot. First, he doesn't recognize all the times Astor manipulates him to make him a success. Second, she's pretty and devoted--but the fool doesn't appreciate her or recognize that she loves him. In many ways, Astor is quite the sap and Ames clearly doesn't deserve her. Even when it's obvious Ames is chasing other women, Astor hold out hope that somehow he'll recognize her and marry her. In fact, I had a hard time loving the film because Ames just wasn't worth it--I wanted to see her find someone other than him or Cortez! The film truly is the ultimate in self-sacrifice and as a result Astor is a human doormat--too much so. Still, despite this, the film is well made, entertaining and worth seeing--I just wished they'd made the relationship between Ames and Astor less one-sided and ridiculous.
By the way, my favorite line in the film was "You don't love me for my body alone...". Now THAT'S pre-code!
For those who don't know what the term "Pre-Code" refers to, this is a film made mostly in the early 1930s--up to 1934. While there was a Production Code that supposedly controlled inappropriate content in American films, it was rarely enforced and the films of this era were occasionally very risqué--even by today's standards. While the films following the adoption of a strengthened Code in 1934 were quite tame, pre-code films had some shocking moments such as nudity (yes, Grandpa and Grandma were NOT as prudish as you'd imagine), adultery, homosexuality and cursing. And, occasionally sin was not just condoned but was rewarded by the end of the film! "Behind Office Doors" is clearly a pre-code film in its sensibilities--though it's not as shocking as "Red-Headed Woman" (but what is?!). The film features some adulterous situations, 'free love', a man smacking a woman on the rear (plus she isn't his wife), sexy lingerie, a smart and conniving career girl who smokes and drinks and likes men (Mary Astor), references to hashish, wild parties and lots of sexually-charged banter! However, and this is very odd, but midway through the film the pre-code trashy elements mostly disappear. The resulting film is very good but had one glaring problem that irritated me a tiny bit.
The film begins with Astor meeting a handsome guy (Ricardo Cortez). He is instantly smitten with her, but her mind is focused on an executive at work (Robert Ames). Plus, she learns that Cortez is already married. For much of the movie, Mary works to make the man she's infatuated with (Ames) and pulls strings to make him successful. Oddly, despite being successful, Ames is a bit of an idiot. First, he doesn't recognize all the times Astor manipulates him to make him a success. Second, she's pretty and devoted--but the fool doesn't appreciate her or recognize that she loves him. In many ways, Astor is quite the sap and Ames clearly doesn't deserve her. Even when it's obvious Ames is chasing other women, Astor hold out hope that somehow he'll recognize her and marry her. In fact, I had a hard time loving the film because Ames just wasn't worth it--I wanted to see her find someone other than him or Cortez! The film truly is the ultimate in self-sacrifice and as a result Astor is a human doormat--too much so. Still, despite this, the film is well made, entertaining and worth seeing--I just wished they'd made the relationship between Ames and Astor less one-sided and ridiculous.
By the way, my favorite line in the film was "You don't love me for my body alone...". Now THAT'S pre-code!
Pre-Code, wonderful film
sbibb112 November 2004
This pre-code film is not quite as daring as other precode Hollywood movies, but it holds up very well today and is quite enjoyable.
Mary Astor plays a receptionsit at a paper mill company. She has her eye on Robert Ames, a young salesman with the company. When the boss is forced to retire, Mary Astor pushes for Robert Ames to take the job, and when he does, Mary is promoted to being his secretary. She is secretly in love with him, only he never seems to notice. As he rises in the company Mary Astor is constantly by his side, giving good business advice as well as advice in his personal life. When Ames marries someone else, Astor is so upset he quits, and the company begins to fall apart.
Mary Astor, I feel, has never quite gotten her due in film history. She is a wonderful actress, and watching her in a film role, you are assured you will get a natural performance that will hold up as well as if it had been shot yesterday.
Robert Ames, a former stage actor, is quite good in the role. Ames died shortly after this film. His death was thought at first to have been caused by foul play, but it was determined he had died from too much drinking.
Mary Astor plays a receptionsit at a paper mill company. She has her eye on Robert Ames, a young salesman with the company. When the boss is forced to retire, Mary Astor pushes for Robert Ames to take the job, and when he does, Mary is promoted to being his secretary. She is secretly in love with him, only he never seems to notice. As he rises in the company Mary Astor is constantly by his side, giving good business advice as well as advice in his personal life. When Ames marries someone else, Astor is so upset he quits, and the company begins to fall apart.
Mary Astor, I feel, has never quite gotten her due in film history. She is a wonderful actress, and watching her in a film role, you are assured you will get a natural performance that will hold up as well as if it had been shot yesterday.
Robert Ames, a former stage actor, is quite good in the role. Ames died shortly after this film. His death was thought at first to have been caused by foul play, but it was determined he had died from too much drinking.
Much better than advertised
glmoritz12 May 2006
I tivo'd this on Turner Classic just because it was pre-code and sounded interesting. When I got around to watching, I noticed that the "critique" gave it one and a half stars on a four-star scale. I started watching with trepidation -- even old movies can be bad movies -- but I quickly got engaged in the story and Mary Astor's performance as the business brains behind a simple salesman's rise to success. Not a truly great movie -- too predictable -- but certainly better than advertised. And I would have liked to have seen more of Ricardo Cortez as the man who appreciates Mary but won't give up his wealthy wife. I'd recommend giving it a look just to appreciate Astor and what a long way we've come, baby.
Stand by your man movie
HotToastyRag9 March 2019
In the grand tradition of stand-by-your-man films, Behind Office Doors promotes that glorious message of olden days. Mary Astor stars as a secretary in love with one of her co-workers, Robert Ames. Thanks to her intelligence and ambition, she manages to promote Robert up the corporate ladder. Mary remains his faithful secretary, while being in love with him, and Robert repays her by ignoring her and fooling around with other loose secretaries. Mary is a very good girl, in every sense of the word, and while this pre-Code drama is extremely naughty, she isn't. In one scene, Mary discusses the price of French lingerie with her fellow secretary, and in a later scene, she finds a price tag on the floor of Robert's bedroom. In the first scene, Mary attends a party and gets kissed during a game of Blind Man's Bluff, then questioned about how far she'll go during Truth. If you like pre-Code screenplays, add this one to your list.
Mary gives a very heartfelt performance in Behind Office Doors, and while the plot and what she goes through might seem melodramatic to a modern audience, in 1931, it was serious business to be a good girl and remain so. When Ricardo Cortez offers a standing invitation to take Mary to Atlantic City, the audience knows what that means. To a modern woman, it sounds like a fun fling that can be enjoyed without any change to her reputation, but in 1931, it could be life-ruining. I do wish the end of the movie was different, but everything leading up to it was entertaining, dramatic, well-written, and well-acted. Check this movie out if you've never seen a Mary Astor movie, or if you only think of her as Marmee in Little Women. She's the lead and the star, and she holds her own as an old-fashioned girl with strong morals and a loving heart.
Mary gives a very heartfelt performance in Behind Office Doors, and while the plot and what she goes through might seem melodramatic to a modern audience, in 1931, it was serious business to be a good girl and remain so. When Ricardo Cortez offers a standing invitation to take Mary to Atlantic City, the audience knows what that means. To a modern woman, it sounds like a fun fling that can be enjoyed without any change to her reputation, but in 1931, it could be life-ruining. I do wish the end of the movie was different, but everything leading up to it was entertaining, dramatic, well-written, and well-acted. Check this movie out if you've never seen a Mary Astor movie, or if you only think of her as Marmee in Little Women. She's the lead and the star, and she holds her own as an old-fashioned girl with strong morals and a loving heart.
Even if she's in love with you, remember, A secretary is not a toy.....
mark.waltz30 July 2015
Warning: Spoilers
Working hard for aging boss Charles Sellon (who is too old to notice the legs crossed as she takes dictation), Mary Astor is devoted to her job and in love with second in charge Robert Ames. He barely notices her so she accepts the affections of suave Ricardo Cortez who unfortunately is married (although separated for years) but not willing to try to get a divorce. When life-threatening ailments cause Sellon to suddenly retire, Astor and Ames begin to spend more time together, and she is disturbed by his hiring a dim-witted assistant for her. Astor proves she is "Johnny on the spot" (like Julie Andrews' Millie) in keeping the office and Ames' home in order, so when Ames suddenly announces his engagement to wealthy socialite Catherine Dale Owen, Astor is naturally hurt and decides to resign. But the lack of finding a good replacement after firing the incompetent Edna Murphy makes Ames desperate, and when Mary finds out, she makes one last effort to win him over. But is falling in love with the boss worth it? In depression era, pre-code times it was, and more often than not, unless their boss was Clarence Wilson, the heroine did.
It's Mary Astor's film all the way, playing a very noble character who still won't put up with the dizzy antics of the ridiculous Murphy who storms into boss Ames' office against Astor's orders on her very first day. When she throws her newly purchased negligee in Astor's face, you might think that something like this could never happen. Certainly, in this politically correct, office politics rule era, it would be unthinkable, but the dark days of the depression saw some young women using what they had to get ahead. Remember that the early 1930's were pre-code, delightfully un-P.C. with female characters telling other females things such as "As long as there are streets, you'll have a job!" Murphy is even dumber than the character of Hedy LaRue in "How to Succeed in Business Without Really Trying", but in her case, it's How to succeed in the boss's bedroom without really stripping".
Frankly, I didn't see any qualities in Ames which would make sense for Mary Astor to fall in love with him. He's a drunken bore, prone to office hang-overs, even after coming in late, and while Cortez is married, it is apparent that after a time, he would divorce his wife to marry Astor. Sellon, a delightful old character actor, is given several zippy scenes, while Owen, as the seemingly sweet daughter of the firm's banking representative, shows claws when she realizes what she's up against with Astor. Kitty Kelly (not related to the notorious tell-all biographer) also adds spark as Mary's free-spirited pal who throws a great "truth or dare" party where Astor and Cortez are thrown together in a rather risqué bedroom scene where they actually sit on the bed. This is a fun pre-code drama which if you take away the whole personal business in the office business world, you can enjoy for an era of political incorrectness and personal sexual freedom that doesn't exist anymore.
It's Mary Astor's film all the way, playing a very noble character who still won't put up with the dizzy antics of the ridiculous Murphy who storms into boss Ames' office against Astor's orders on her very first day. When she throws her newly purchased negligee in Astor's face, you might think that something like this could never happen. Certainly, in this politically correct, office politics rule era, it would be unthinkable, but the dark days of the depression saw some young women using what they had to get ahead. Remember that the early 1930's were pre-code, delightfully un-P.C. with female characters telling other females things such as "As long as there are streets, you'll have a job!" Murphy is even dumber than the character of Hedy LaRue in "How to Succeed in Business Without Really Trying", but in her case, it's How to succeed in the boss's bedroom without really stripping".
Frankly, I didn't see any qualities in Ames which would make sense for Mary Astor to fall in love with him. He's a drunken bore, prone to office hang-overs, even after coming in late, and while Cortez is married, it is apparent that after a time, he would divorce his wife to marry Astor. Sellon, a delightful old character actor, is given several zippy scenes, while Owen, as the seemingly sweet daughter of the firm's banking representative, shows claws when she realizes what she's up against with Astor. Kitty Kelly (not related to the notorious tell-all biographer) also adds spark as Mary's free-spirited pal who throws a great "truth or dare" party where Astor and Cortez are thrown together in a rather risqué bedroom scene where they actually sit on the bed. This is a fun pre-code drama which if you take away the whole personal business in the office business world, you can enjoy for an era of political incorrectness and personal sexual freedom that doesn't exist anymore.
Ricardo Cortez
boblipton24 May 2021
When her old boss is ordered to retire by his doctor, Mary Astor gets salesmasn Robert Ames the firm. She becomes his secretary, polishes him, helps him build the business and loves him. He never notices. Not so Ricardo Cortez, a rich, married man, in this frank little Pre-Code movie.
Ricardo Cortez' career was doomed. After his silent stardom, his voice did not match the Valentino images, so he made a very fine transition to roles that did: urban toughs working their way up. Here he's still shaking off the old Cortez, playing a married rich man who's on the make for Miss Astor, and he does well. He was, nonetheless, doomed, because stardom is a business proposition in which the public comes out to see the star. A star is value added to a film. If enough people come to see him, the film profits, depending on how much the star charges, and as good as he is here and elsewhere, he just didn't draw them in. After the a roles dried up, he retreated, like many, to the B movies. The started to dry up, so he tried directing. Eventually, he returned to his old job,on Wall Street, but kept his hand in with a film every year or two. His last role was for John Ford, THE LAST HURRAH. He died in 1977, aged 76.
Ricardo Cortez' career was doomed. After his silent stardom, his voice did not match the Valentino images, so he made a very fine transition to roles that did: urban toughs working their way up. Here he's still shaking off the old Cortez, playing a married rich man who's on the make for Miss Astor, and he does well. He was, nonetheless, doomed, because stardom is a business proposition in which the public comes out to see the star. A star is value added to a film. If enough people come to see him, the film profits, depending on how much the star charges, and as good as he is here and elsewhere, he just didn't draw them in. After the a roles dried up, he retreated, like many, to the B movies. The started to dry up, so he tried directing. Eventually, he returned to his old job,on Wall Street, but kept his hand in with a film every year or two. His last role was for John Ford, THE LAST HURRAH. He died in 1977, aged 76.
Astor a treat, but trapped in a bad script
gbill-748771 September 2020
The trouble with these 'smart woman behind the scenes' movies from this era is that while they show a woman to be the brains behind a businessman, they also show the positions they're limited to, and generally happy with as long as there is a possible romantic angle. In this case it's Mary Astor in the role of a secretary helping out a salesman (Robert Ames) make big moves within his company for reasons which aren't all that obvious, since he's quite a bore, patting a woman on the butt at the water cooler and making it clear he plays around. She has a thing for him anyway though (argh!), which is all the more disappointing since she has such pluck and principles in spurning the advances of a wealthy man (Ricardo Cortez) who has lied to her about not being married, something her friends think she's crazy to do. She makes all of the key strategic decisions that get him to the top of the company, and yet like a dimwit he doesn't understand her value, and also hires other women into the company so he can have liaisons with them. Somehow (argh!) she still loves him.
Astor's a treat to watch but everything else is a rather unpleasant experience, and the film is rather creaky, both in pace and the quality of the visual print which survives. There are occasional funny moments in the banter, such as when she tells him of a big idea she has, and he comes over to her, grabs the cigarette out of her hand, smells it, and says "it isn't hashish." These are few and far between though, and the film lacks most of the old pre-Code crackle. Robert Ames died at 42 from his problems with alcohol a little less than five months after this film was released, so that's a point of interest I guess, but the only real reason to watch this would be for Astor. It's just too bad the script is so weak. I hated the ending too.
Astor's a treat to watch but everything else is a rather unpleasant experience, and the film is rather creaky, both in pace and the quality of the visual print which survives. There are occasional funny moments in the banter, such as when she tells him of a big idea she has, and he comes over to her, grabs the cigarette out of her hand, smells it, and says "it isn't hashish." These are few and far between though, and the film lacks most of the old pre-Code crackle. Robert Ames died at 42 from his problems with alcohol a little less than five months after this film was released, so that's a point of interest I guess, but the only real reason to watch this would be for Astor. It's just too bad the script is so weak. I hated the ending too.
Behind every great man...
marcslope31 March 2014
A good vehicle for Mary Astor, who always radiated intelligence and beauty; she's stunningly gorgeous as a secretary who's smarter than her boss, Robert Ames, and helps him to the presidency of a paper company while being utterly neglected. The sexism of the day is annoying--she should really be president--but the role allows Astor a lot of range, she gets to do both funny and poignant, and she's never less than a great camera subject. Ames, a major leading man who died not long after this, doesn't reveal any great appeal or ability, and the ending's never much in doubt. But it's one of the better early-talkie looks at the great Mary.
Hi girly
AAdaSC26 May 2019
Charles Sellon (Ritter) retires as President of a paper company and secretary Mary Astor (Mary) fixes it so that salesman Robert Ames (Duneen) is promoted to take over at the top. Ames is a shouty type of person - very annoying - and fancies himself with the ladies. Cue Edna Murphy (Daisy) who is the best thing about the film and should have been given more screen time. She is hired as a secretary to work alongside Astor. Astor is in love with Ames but he doesn't seem to notice her. How will it all work out?
Yes, well you've guessed how it all works out. Shame. It should have worked out different. Astor keeps the film going but she is pretty annoying. Who would fall so blindly in love with someone like Ames? It doesn't make sense. So, it's a stupid film.
Yes, well you've guessed how it all works out. Shame. It should have worked out different. Astor keeps the film going but she is pretty annoying. Who would fall so blindly in love with someone like Ames? It doesn't make sense. So, it's a stupid film.
"Always the woman pays and pays and pays".....
kidboots22 February 2011
Warning: Spoilers
.....especially if she is surrounded by such dim witted men!!!! First of all there's Ronnie Wales (Ricardo Cortez) - he is attracted to Mary but will never divorce his wealthy wife as she controls the money. Then there is the man Mary (Mary Astor) really loves - Jim Duneen (Robert Ames) an idiot par excellence. He's crass, vulgar, always drunk and attracted to dopey flappers - which is why he is not interested in Mary.
She is a super efficient girl Friday for Ritter and Co. and Jim is their top salesman. When their boss retires, due to ill health, he takes on board Mary's suggestion that Jim will be perfect to fill his place. He more than fulfills the faith Mary has in him - but does he really??? Although he takes all the credit, it is really Mary's efficiency and business sense that keeps the company at the top. She also teaches him how to talk and how to dress until he catches the eye of Ellen (Catherine Dale Owen), a wealthy society woman.
Was Catherine Dale Owen the worst actress of that time - or was there another one!!! She said her lines as though she was playing in a 1929 talkie - not one from 1931!! Slowly, deliberately and enunciating every word. There was a scene between her and Mary Astor (one of the best actresses) - Mary was her beautiful, natural self but Catherine was all "Grand Dame". As John Springer once wrote - "Perhaps it wasn't John Gilbert's fault that he seemed ludicrous in his first talkie, after all, his leading lady was Catherine Dale Owen"!!!
Ellen finds out that Mary loves Jim and forces her to leave the company - of course the place falls apart. The secretary that Jim has installed (Edna Murphy), one of his flings, almost burns his house down by falling asleep with a lighted cigarette!!! The ending is very disappointing but apart from that, the movie has lots of pre-code moments. When Mary rings Jim at midnight, they both happen to be "entertaining" and when Mary goes to Atlantic City with Ronnie, the complete casualness, as they both lounge about in peignoirs and smoking jackets!! There is one scene that makes the movie worthwhile - it is when Mary resigns and finally sees her path in life clearly (or so she thinks). She puts all her energy into this one little speech and she is just great!!!
I like Mary Astor so much. In a sea of platinum blondes she stood out like a beacon with her calm dark beauty and poise. That's why the ending was so silly - Mary was far too smart to make the decision she did. Leaving her "damsel in distress" period with the silents, she entered the thirties with a variety of roles. She was always perfect as the quiet dependable wife, friend and secretary with ripples of sensuality just below the surface. Robert Ames, who seemed to excel a bit too much as the "boozey boss", was an actor that Radio Pictures had a lot of faith in, but in real life he was a hopeless alcoholic who died the same year (1931) of the D.T.s.
Recommended.
She is a super efficient girl Friday for Ritter and Co. and Jim is their top salesman. When their boss retires, due to ill health, he takes on board Mary's suggestion that Jim will be perfect to fill his place. He more than fulfills the faith Mary has in him - but does he really??? Although he takes all the credit, it is really Mary's efficiency and business sense that keeps the company at the top. She also teaches him how to talk and how to dress until he catches the eye of Ellen (Catherine Dale Owen), a wealthy society woman.
Was Catherine Dale Owen the worst actress of that time - or was there another one!!! She said her lines as though she was playing in a 1929 talkie - not one from 1931!! Slowly, deliberately and enunciating every word. There was a scene between her and Mary Astor (one of the best actresses) - Mary was her beautiful, natural self but Catherine was all "Grand Dame". As John Springer once wrote - "Perhaps it wasn't John Gilbert's fault that he seemed ludicrous in his first talkie, after all, his leading lady was Catherine Dale Owen"!!!
Ellen finds out that Mary loves Jim and forces her to leave the company - of course the place falls apart. The secretary that Jim has installed (Edna Murphy), one of his flings, almost burns his house down by falling asleep with a lighted cigarette!!! The ending is very disappointing but apart from that, the movie has lots of pre-code moments. When Mary rings Jim at midnight, they both happen to be "entertaining" and when Mary goes to Atlantic City with Ronnie, the complete casualness, as they both lounge about in peignoirs and smoking jackets!! There is one scene that makes the movie worthwhile - it is when Mary resigns and finally sees her path in life clearly (or so she thinks). She puts all her energy into this one little speech and she is just great!!!
I like Mary Astor so much. In a sea of platinum blondes she stood out like a beacon with her calm dark beauty and poise. That's why the ending was so silly - Mary was far too smart to make the decision she did. Leaving her "damsel in distress" period with the silents, she entered the thirties with a variety of roles. She was always perfect as the quiet dependable wife, friend and secretary with ripples of sensuality just below the surface. Robert Ames, who seemed to excel a bit too much as the "boozey boss", was an actor that Radio Pictures had a lot of faith in, but in real life he was a hopeless alcoholic who died the same year (1931) of the D.T.s.
Recommended.
talkie for mary astor. pretty good.
ksf-225 March 2018
Mary Astor had started in silent films, and was probably best known for "Maltese Falcon". It was refreshing to see a woman of that time not use the annoying baby voice to trick men into getting her things, as many of the films of the time did. At the office, she supports her boss, and knows that some day he will be the president, and she can be the power behind the throne. They finally do go on a date, but then things get complicated. Co-stars Ricardo Cortez and Robert Ames. Ames only made a couple more films and drank himself to death. This one is pretty good. Directed by Melville Brown for RKO. Shows on Epix channel.
Joyless, Witless, Dull
kkistler-0928223 June 2020
This movie has no charm and is utterly forgettable. The main character, Mary, is in love with a self-absorbed, womanizing, uncharismatic salesman. Why? Because he was supposedly nice to her when she first got hired. He seems completely disinterested in her romantically and doesn't give her the credit she deserves for his success. Yet she's still in love with him. Why? Who knows? The characters are dull and poorly written. There's no dramatic conflict in the film's first two acts, and you're left wondering what the point of the story even is an hour into it. By the time conflict arrives in the third act, it's predictable, cliched, and unsatisfying. The acting is mediocre, and the cinematography is actually wobbly at times. I love watching Pre-Codes, but unfortunately, this one was pretty terrible 80 minutes that felt like 2 and a half hours. Avoid this one. There are many far better Pre-Codes to watch.
A big surprise !!
fsilva23 August 2001
I got this movie on dvd format recently, and although much of the movies from this period are static antiques, due to sound problems and lack of camera movements, this early talkie is not that static and I had fun watching it! Mary Astor's screen presence is strong, Robert Ames' acting is good, and the rest of the cast is uniformly o.k. The plot has neither got big surprises or mysteries, nor is it too sophisticated (let's say it's no Lubitsch), but this modest picture is sincere and definitely deserves a watch. The quality of the image is great, considering it's a 1931 feature. Also note the pre-code "daring" (for then) aspects of the film, compared to movies made in Hollywood from 1934 onwards. A discovery!
Not an Office Romance
view_and_review13 August 2022
"Behind Office Doors" was one of those movies that you walk away from unsure of what to think. The movie was fairly clear in its plot, but the situation the main character was in made me hem-and-haw.
The main character, Mary Linden (Mary Astor), was hopelessly in love with a salesman named James Duneen (Robert Ames) because of a small kindness he'd done for her in the past. James didn't quite think of her the same way, not because he couldn't love her, but because she was a woman he respected so much he almost dared not see her in anything but a professional light. In general, his view and treatment of Mary was exactly what it should've been. He was a man who worked with a woman and was not looking to get romantically involved. For Mary, his view of her was not quite what she wanted it to be.
With Mary's help James became the president of a paper company. She remained at that paper company being his personal secretary. She worked long hours and had valuable input on just about every decision. Today (I'd hope) she would've been vice president of that same company, or an exec of some high rank. She didn't mind the work she put in for James because she was a professional who had pride in her work and she loved him, but she hoped just once he would look at her like he looked at other women. And that's what gave me pause.
Part of the time I saw Mary as an intelligent professional woman who made herself indispensable. She was the very best person for her job regardless of gender. At other times I thought she was doing a disservice to women everywhere. Instead of wanting to keep the relationship all business she was looking for some office romance with her boss.
Then I discarded that thought.
Like I said, Mary loved James from before he ever got to where he got, and he only got to where he got because Mary loved him, wanted to see him succeed, and helped him out majorly. As he climbed the ladder of success she was there--in a professional capacity, but there-- still in love with him.
You see, Mary should not have been regarded as a woman who couldn't separate a business relationship from a personal one. She was spectacular at separating the two. She loved him and just so happened to work for him, and there's nothing wrong with that.
Free with Amazon Prime.
The main character, Mary Linden (Mary Astor), was hopelessly in love with a salesman named James Duneen (Robert Ames) because of a small kindness he'd done for her in the past. James didn't quite think of her the same way, not because he couldn't love her, but because she was a woman he respected so much he almost dared not see her in anything but a professional light. In general, his view and treatment of Mary was exactly what it should've been. He was a man who worked with a woman and was not looking to get romantically involved. For Mary, his view of her was not quite what she wanted it to be.
With Mary's help James became the president of a paper company. She remained at that paper company being his personal secretary. She worked long hours and had valuable input on just about every decision. Today (I'd hope) she would've been vice president of that same company, or an exec of some high rank. She didn't mind the work she put in for James because she was a professional who had pride in her work and she loved him, but she hoped just once he would look at her like he looked at other women. And that's what gave me pause.
Part of the time I saw Mary as an intelligent professional woman who made herself indispensable. She was the very best person for her job regardless of gender. At other times I thought she was doing a disservice to women everywhere. Instead of wanting to keep the relationship all business she was looking for some office romance with her boss.
Then I discarded that thought.
Like I said, Mary loved James from before he ever got to where he got, and he only got to where he got because Mary loved him, wanted to see him succeed, and helped him out majorly. As he climbed the ladder of success she was there--in a professional capacity, but there-- still in love with him.
You see, Mary should not have been regarded as a woman who couldn't separate a business relationship from a personal one. She was spectacular at separating the two. She loved him and just so happened to work for him, and there's nothing wrong with that.
Free with Amazon Prime.
precode with beautiful Mary Astor
blanche-229 December 2014
Mary Astor was so beautiful, but for some reason, she's cast as someone taken for granted in "Behind Office Doors," a 1931 film. Astor had a great career starting in silents and culminating with "The Maltese Falcon," in 1941. She moved into character roles in the '50s, and played her last role in 1967, due to a heart condition.
Here Astor plays Mary Linden, an executive assistant to James Duneen (Robert Ames). She is the brains of the operation as he seems to only have two brain cells and one of them is on vacation. For reasons known only to herself, she's in love with him. He can't see her for dust and is not only a womanizer, but he hires a few of his bimbo girlfriends, one of whom buys sexy lingerie and shows it off to Mary.
In the beginning of the film Mary meets Ronnie Wales (Ricardo Cortez) and he's crazy about her. One problem - he's married and not living with his wife. She's too interested in her boss, but eventually Duneen's womanizing gets to her and she leaves, heartbroken.
This movie has many precode elements - trashy women, hash, sexual harassment, adultery, sexual innuendo.
The main problem with it is that Mary is an idiot! Why isn't the boss played by someone good-looking and quick-witted like Douglas Fairbanks, Jr.? She deserved better than this shlub for sure. And what was his problem? He has a beautiful secretary who's holding him together, and he's looking around, sending flowers to other women and hiring her an "assistant?" All in all, very '30s, and very not feminist.
Here Astor plays Mary Linden, an executive assistant to James Duneen (Robert Ames). She is the brains of the operation as he seems to only have two brain cells and one of them is on vacation. For reasons known only to herself, she's in love with him. He can't see her for dust and is not only a womanizer, but he hires a few of his bimbo girlfriends, one of whom buys sexy lingerie and shows it off to Mary.
In the beginning of the film Mary meets Ronnie Wales (Ricardo Cortez) and he's crazy about her. One problem - he's married and not living with his wife. She's too interested in her boss, but eventually Duneen's womanizing gets to her and she leaves, heartbroken.
This movie has many precode elements - trashy women, hash, sexual harassment, adultery, sexual innuendo.
The main problem with it is that Mary is an idiot! Why isn't the boss played by someone good-looking and quick-witted like Douglas Fairbanks, Jr.? She deserved better than this shlub for sure. And what was his problem? He has a beautiful secretary who's holding him together, and he's looking around, sending flowers to other women and hiring her an "assistant?" All in all, very '30s, and very not feminist.
Desire and Dictation
wes-connors19 April 2014
At a New York party, bright and attractive secretary Mary Astor (as Mary Linden) has fun with wealthy and attractive Ricardo Cortez (as Ronnie Wales). The two seem like an ideal couple, but Mr. Cortez is married and can't get a divorce. Besides, Ms. Astor has set her sights on playboy businessman Robert Ames (as James "Jim" Duneen). When her boss retires, Astor recommends Mr. Ames as replacement. Ames is up for the job as head of the paper distributing company where they work. Astor continues as the president's secretary and Ames shows little interest in her sexually. Instead, he beds trampy job applicant Edna Murphy (as Daisy Presby) and proposes to snobby heiress Catherine Dale Owen (as Ellen Robinson). Astor must consider drastic actions to win her man. "Behind Office Doors" is a dated, but gamely presented early talking picture; however, this doesn't combine in a way that makes it very engaging.
**** Behind Office Doors (3/15/31) Melville Brown ~ Mary Astor, Robert Ames, Ricardo Cortez, Edna Murphy
**** Behind Office Doors (3/15/31) Melville Brown ~ Mary Astor, Robert Ames, Ricardo Cortez, Edna Murphy
The Range of Mary Astor
boblion-779-123919 April 2020
Pre-code and Pre-feminist
drednm28 May 2006
Terrific little film that stars Mary Astor as a go-getter who works her way up as a struggling paper company, but when the owner has to sell for health reasons, she comes up with a scheme for the employees to buy the company with a jerk salesman (Robert Ames) as the "front" even though she is the brains.
Of course he becomes a big success and she becomes his executive secretary, basically still running everything and teaching him class. She loves the dope, but he never catches on as he fools around with a string of bimbos. She is chased by a married but separated man, Ricardo Cortez, who isn't free. But when a society gal catches Ames, everything goes to hell.
Astor is just wonderful as the too-smart woman who almost makes a huge mistake after she loses her man. Ames is good as the jerk (but what does she see in him?), and Cortez is good but doesn't have much to do. Kitty Kelly is good as the sidekick, Dolores. Charles Sellon is the original owner, Cather Dale Owen is the society babe, and Edna Murphy is funny as Daisy.
Worth a look.
Of course he becomes a big success and she becomes his executive secretary, basically still running everything and teaching him class. She loves the dope, but he never catches on as he fools around with a string of bimbos. She is chased by a married but separated man, Ricardo Cortez, who isn't free. But when a society gal catches Ames, everything goes to hell.
Astor is just wonderful as the too-smart woman who almost makes a huge mistake after she loses her man. Ames is good as the jerk (but what does she see in him?), and Cortez is good but doesn't have much to do. Kitty Kelly is good as the sidekick, Dolores. Charles Sellon is the original owner, Cather Dale Owen is the society babe, and Edna Murphy is funny as Daisy.
Worth a look.
A Mary Astor revelation
lshelhamer18 September 2011
This film features Mary Astor as the brains behind a NYC paper company, manipulating the personal life and business affairs of her boss, Robert Ames, who seems oblivious of her charms and too witless, frankly, to be a captain of industry. Ricardo Cortez is her long-suffering married would-be lover (did they ever consummate their relationship in Atlantic City?).
Never a Mary Astor fan, I found her performance in this film to be outstanding. She carries the movie all by herself and exhibits a wide range of emotions without once overacting, which would have been a great temptation in a film of this type. The film itself is marred by an inferior supporting cast, especially Robert Ames, and a too-hurried wrap up at the end.
Never a Mary Astor fan, I found her performance in this film to be outstanding. She carries the movie all by herself and exhibits a wide range of emotions without once overacting, which would have been a great temptation in a film of this type. The film itself is marred by an inferior supporting cast, especially Robert Ames, and a too-hurried wrap up at the end.
Blandly Feminist For Its Time
dougdoepke16 December 2019
In days past BOD would have been called a 'woman's picture', since affairs of the heart occupy the storyline instead of action, mystery or suspense. Fortunately, actress Astor (Linden) turns in a nicely low-key turn as the under-appreciated power behind boss Duneen's company throne. She craves his affection instead of the compliments he occasionally provides her. Now he's planning to wed a high-society girl even though it's Linden's advice who's gotten him to the top. So what will become of her.
For me, a guy, the flick only has occasional interest as when character conflict comes to the top. Otherwise, the narrative's too talky and stage-bound, even though the gals do go through a number of gown changes on camera (Pre-Code, 1931). Too bad also that a more charismatic actor doesn't appear as Duneen. It's really hard to see how the savvy Linden could get so stuck on such a bland leading man that also weakens focal interest. Then too, the narrative staggers more than it unfolds, the director adding little or nothing. Anyway, I think a mild feminist under-current underlies key points of the plot, which, to me, is really the only reason to catch up with the uneven 82-minutes.
For me, a guy, the flick only has occasional interest as when character conflict comes to the top. Otherwise, the narrative's too talky and stage-bound, even though the gals do go through a number of gown changes on camera (Pre-Code, 1931). Too bad also that a more charismatic actor doesn't appear as Duneen. It's really hard to see how the savvy Linden could get so stuck on such a bland leading man that also weakens focal interest. Then too, the narrative staggers more than it unfolds, the director adding little or nothing. Anyway, I think a mild feminist under-current underlies key points of the plot, which, to me, is really the only reason to catch up with the uneven 82-minutes.
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