Reviews (25)

No other movie was so ahead of it's time!
Claudette Colbert and Louise Beavers star in this 1930's melodramatic tale of two mothers struggling for their children. Colbert plays Beatrice "Bea" Pullman, a widow with a young daughter. Life is hard for Bea until Delilah Johnson, Louise Beavers,arrives with her daughter and becomes Bea's maid. Delilah cajoles Bea to give her a job as her maid. Bea discovers that Delilah has a delicious pancake recipe. Bea acquires this recipe, and uses it to start her empire; with Delilah getting a not so equal cut. However, this empire has a price for both. For one, the price is happiness in a relationship. For the other, the price is dealing with racial confusion. Ironically, their daughters serve them the check. No movie of it's time dared to go into the deep waters of racism and self sacrifice! This movie is said to be a "imitation", but in fact some of it's scenes parrallel to the sad realities of life. When Bea and Delilah retire for the night, the scene emphasizes the seperation of races during this time. Claudette Colbert and Louise Beavers give powerful and underestimated performances in this movie. Colbert has a real and caring presence in the movie. Beavers shows suffering like never before, and she proves that servants have lives outside of serving. With wonderful performances by Warren William as understanding Stephen Archer, Fredi Washington as the misunderstood and confused Peola, Rochelle Hudson as the lovelorn Jessie, and Ned Sparks as the sarcastic Elmer. "Imitation of Life" blazed a trail for movies dealing with the triumph of the self and the power of family love.

Tearjerker
Classic, compulsively watchable rags to riches tearjerker from a Fannie hearst novel. Claudette Colbert and Louise Beavers play the white and black women who go into business together, and Rochelle Hudson and Fredi Washington play their daughters. Ross Hunter produced a remake in 1959 starring Lana Turner, which pulled out all the stops. In both versions you want to laugh at yourself for choking up, but at least, in this earlier more enjoyable version, it doesn't feel as if the sobs are being torn from your throat. The cast includes Warren William, Ned Sparks, and, as servants: Hazel Washington, Hattie McDaniel, and Madame Sultewon (the black actress who worked with D.W. Griffith)

The original, and still the best version
Most viewers are far more familiar with the campy, 1959 version of this film, starring Lana Turner. But, this is the original version, and I find it far superior to the remake for so many reasons.

First of all, it takes place in the early 1930's, putting us smack dab in the Depression, and a time period which suits the subject matter. Claudette Colbert, a much better actress than Lana Turner, is one of the first reasons I prefer this version. But, mainly, the incredible Louise Beavers is absolutely unforgettable as the black maid, Delilah Johnson, whose light-skinned daughter, Peola, is raised alongside Colbert's daughter, Jessie.

When the girls grow up, Peola realizes that she can "pass" for white, and in the 1930's, with racism and joblessness rampant, her choice makes sense, for the times. When Peola, played by Fredi Washington, completely rejects her mother, it is heartbreaking. To see Louise Beavers sobbing onto the counter in the department store is truly painful.

Peola breaks her mother's heart in order to fit into a world that would not accept her otherwise. In the end, she regrets the pain she causes her mother. This is another time and place, and we don't hate Peola for hurting her mother. Still, our heart bleeds for Delilah.

The acting is top notch, and I will take this more entertaining and serious version of the film over the campy re-make any day.

Very long movie
At 1 hour, 51 minutes, this movie is in no hurry to get to the end. I guess Depression-era audiences were happy to sit in a cool theater that long. Scenes are long, slow, and drawn out, like in real life. Claudette Colbert is is no hurry to move along to the next scene. And why should she when she doesn't age a bit in the 15 years this movie spans? And doesn't Warren William look like John Barrymore!! Same profile. If you are a fan of the Lana Turner version, you really ought to see this.

Unrelentingly grim, but a must-see
This film stands as a raw, no holds barred look at racism in 1930s America. Many people have problems today with the Louise Beavers (the maid) character's acceptance of her lot, but one must remember that oppression sometimes causes people to give up hope for a better earthly life. Ned Sparks provides some badly needed comic releif in this weeper, and one wonders what audiences of the time thought of it. This would be good to show and have a discussion session with younger viewers. ... Read more

Reviews (23)

A Classic Tale of a Girl, her Horse, a young Jockey and Mom
Somehow I never got around to see this movie until I was 40 years old. I guess it was because I was never really an Elizabeth Taylor fan, although I have always enjoyed "The Taming of the Shrew" and "Who's Afraid of Virginia Woolf?" But I was at the library and I had always heard good things about it and so I checked in out and took it home and watched it and feel in love with it.

The plot line involving Mike (Mickey Rooney) starts off as somewhat melodramatic, the standard story (literarly in this case) of the guy who has to get back on the horse. The twist is that when he does our young heroine has decided she is the only one who can ride the Pie to victory. The twist is the Rooney achieves his victory without winning (anticipating "Rocky" in that regard when you stop and think about it).

The focus of the film is on Taylor and Rooney, but the heart and soul of the film is the relationship between Velvet and her mother. Anne Reeve won a Best Supporting Actress Oscar for her portrayal of the mother, and while her scenes with husband Donald Crip are small gems scattered throughout the film (they call each other "Mr. Brown" and "Mrs. Brown" and you can tell how much they love each other every time they do it), it is the scenes with her daughter that bring home the film.

Mrs. Brown uses the money from her swimming the channel to fund Velvet's dream of racing the pie in the Grand National. But for Velvet the payoff is not when she wins the race and becames a front page story, but when she arrives home and immediately runs to her mother and says, "We won, Mother. We won." Her mother already knows. All of England knows. But all that mattered was telling her mother. It is a neat scene and an ellegant payoff to the film, more so than her running off to fetch make Mike.

This 1944 film was directed by Clarence Brown and is based on the novel by Enid Bagnold. Final Warning: And if after you have watched and enjoyed this classic film with your children and you screen the sequel "International Velvet" which only leaves a bad taste in your mouth, you have only yourself to blame.

Wonderful Technicolor Film About a Girl's Dream
I love both the book of NATIONAL VELVET and this film, which makes small changes to the book, but the theme and joy remain the same. Sickly Velvet Brown wins a fractious horse in a lottery and she and ex-jockey Mi Taylor train the horse to race in England's most famous steeplechase, the Grand National, a grueling race with frightening jumps. Velvet's family--her wise mother, excitable father, lovelorn older sister, telltale other sister, and mischievous little brother are all entertaining in their own right--some of the best scenes in the movie are between Anne Revere as Mrs. Brown and Donald Crisp as Mr. Brown. All this in glorious Technicolor recreating an English village of the 1920s. A must-have. Read the book as well--there is another sister in the story, more horse incidents, and it's not "translated" for American sensibilities like Harry Potter, so you get a real feel for English life and dialect at the time.

Poor treatment of a classic
"National Velvet" is a wonderful movie, for all ages. Frankly, I'd consider it one of the best "sports" movies ever made.

Sadly, Warner Brothers DVD release leaves a lot to be desired. The picture frequently goes out of focus, and the disc is bare-bones....not even the trailer [promised on the DVD jacket] is included.

With Elizabeth Taylor and Mickey Rooney still around, you would have thought they'd have either interviewed them, or gotten a commentary track from them for this classic. It would be worth the price to get a "special edition" release.

Until then, I guess we're stuck with this sorry disk.

Not to be missed
Clarence Brown was one of those accomplished American directors who never seemed to get the credit he deserved. This project is certainly his masterpiece. It's usually hyped as a children's picture but it works at all age levels: the apotheosis of the "family" movie. Mickey Rooney delivers the best performance of his amazing career; he should be next on the "lifetime achievment" list of the American movie academy. Brown also extracted equally compelling performances from Elizabeth Taylor, Donald Crisp and Anne Revere; in fact the entire cast. Taylor is a young English girl transported by her love of hayburners and her pure happiness is the central theme of the movie, a subject you don't see treated much anymore. Highly recommended.

Horse Crazy!
National Velvet is a sweet, inspiring film that will forever be a wonderful classic. Elizabeth Taylor (Velvet Brown) and Mickey Rooney (Mi Taylor) did an incredible job portraying their characters. Elizabeth Taylor only twelve years old, plays the part of a horse crazy little girl who is bound and determined that her horse (Pie) can when the Grand National Steeplechase. Although Pie was not originally her horse, it was enduring to watch how Velvet acquired the 16 hands, 6 foot jumping horse and how small of chance she had to win him. Mickey Rooney played a wonderful role of a frighten ex-jockey who in the beginning did not want any part of the horse business after an accident early in his career. With a spirited young girl, a wonderful horse that was thought to be no good, and an ex-jockey that tried too hard to stay away from horses, a winning story was sure to be produced. Velvet's family also played an important role as her mother (Academy Award winner Anne Revere), the quick tongue lady who could always convince her husband otherwise and Velvet's siblings, that put an emphasis on typical sibling relationships. For it's time, when this film was produced, it was outstanding (Academy Award winning) and now it is even more outstanding. People of all ages can enjoy this film because it's heartwarming with a touch of comedy that seeps into the heart of everyone. ... Read more

Amazon.com essential video

This classic family film made a star of 12-year-old Elizabeth Taylor in the title role as spunky Velvet Brown, a girl who's determined to enter her horse, Pie, in the Grand National Steeplechase. Critic Pauline Kael called it "One of the most likeable movies of all time." Mickey Rooney costars as a young man who helps Velvet train Pie for the big race. At the last minute, Velvet herself has to ride Pie in the tournament and cuts her hair to pass for a jockey. Anne Revere won an Oscar as Velvet's mother, as did editor Robert J. Kern, who cut together a terrifically exciting horse race. Donald Crisp and Angela Lansbury are also featured as members of the Brown family.--Jim Emerson ... Read more

Reviews (23)

A Classic Tale of a Girl, her Horse, a young Jockey and Mom
Somehow I never got around to see this movie until I was 40 years old. I guess it was because I was never really an Elizabeth Taylor fan, although I have always enjoyed "The Taming of the Shrew" and "Who's Afraid of Virginia Woolf?" But I was at the library and I had always heard good things about it and so I checked in out and took it home and watched it and feel in love with it.

The plot line involving Mike (Mickey Rooney) starts off as somewhat melodramatic, the standard story (literarly in this case) of the guy who has to get back on the horse. The twist is that when he does our young heroine has decided she is the only one who can ride the Pie to victory. The twist is the Rooney achieves his victory without winning (anticipating "Rocky" in that regard when you stop and think about it).

The focus of the film is on Taylor and Rooney, but the heart and soul of the film is the relationship between Velvet and her mother. Anne Reeve won a Best Supporting Actress Oscar for her portrayal of the mother, and while her scenes with husband Donald Crip are small gems scattered throughout the film (they call each other "Mr. Brown" and "Mrs. Brown" and you can tell how much they love each other every time they do it), it is the scenes with her daughter that bring home the film.

Mrs. Brown uses the money from her swimming the channel to fund Velvet's dream of racing the pie in the Grand National. But for Velvet the payoff is not when she wins the race and becames a front page story, but when she arrives home and immediately runs to her mother and says, "We won, Mother. We won." Her mother already knows. All of England knows. But all that mattered was telling her mother. It is a neat scene and an ellegant payoff to the film, more so than her running off to fetch make Mike.

This 1944 film was directed by Clarence Brown and is based on the novel by Enid Bagnold. Final Warning: And if after you have watched and enjoyed this classic film with your children and you screen the sequel "International Velvet" which only leaves a bad taste in your mouth, you have only yourself to blame.

Wonderful Technicolor Film About a Girl's Dream
I love both the book of NATIONAL VELVET and this film, which makes small changes to the book, but the theme and joy remain the same. Sickly Velvet Brown wins a fractious horse in a lottery and she and ex-jockey Mi Taylor train the horse to race in England's most famous steeplechase, the Grand National, a grueling race with frightening jumps. Velvet's family--her wise mother, excitable father, lovelorn older sister, telltale other sister, and mischievous little brother are all entertaining in their own right--some of the best scenes in the movie are between Anne Revere as Mrs. Brown and Donald Crisp as Mr. Brown. All this in glorious Technicolor recreating an English village of the 1920s. A must-have. Read the book as well--there is another sister in the story, more horse incidents, and it's not "translated" for American sensibilities like Harry Potter, so you get a real feel for English life and dialect at the time.

Poor treatment of a classic
"National Velvet" is a wonderful movie, for all ages. Frankly, I'd consider it one of the best "sports" movies ever made.

Sadly, Warner Brothers DVD release leaves a lot to be desired. The picture frequently goes out of focus, and the disc is bare-bones....not even the trailer [promised on the DVD jacket] is included.

With Elizabeth Taylor and Mickey Rooney still around, you would have thought they'd have either interviewed them, or gotten a commentary track from them for this classic. It would be worth the price to get a "special edition" release.

Until then, I guess we're stuck with this sorry disk.

Not to be missed
Clarence Brown was one of those accomplished American directors who never seemed to get the credit he deserved. This project is certainly his masterpiece. It's usually hyped as a children's picture but it works at all age levels: the apotheosis of the "family" movie. Mickey Rooney delivers the best performance of his amazing career; he should be next on the "lifetime achievment" list of the American movie academy. Brown also extracted equally compelling performances from Elizabeth Taylor, Donald Crisp and Anne Revere; in fact the entire cast. Taylor is a young English girl transported by her love of hayburners and her pure happiness is the central theme of the movie, a subject you don't see treated much anymore. Highly recommended.

Horse Crazy!
National Velvet is a sweet, inspiring film that will forever be a wonderful classic. Elizabeth Taylor (Velvet Brown) and Mickey Rooney (Mi Taylor) did an incredible job portraying their characters. Elizabeth Taylor only twelve years old, plays the part of a horse crazy little girl who is bound and determined that her horse (Pie) can when the Grand National Steeplechase. Although Pie was not originally her horse, it was enduring to watch how Velvet acquired the 16 hands, 6 foot jumping horse and how small of chance she had to win him. Mickey Rooney played a wonderful role of a frighten ex-jockey who in the beginning did not want any part of the horse business after an accident early in his career. With a spirited young girl, a wonderful horse that was thought to be no good, and an ex-jockey that tried too hard to stay away from horses, a winning story was sure to be produced. Velvet's family also played an important role as her mother (Academy Award winner Anne Revere), the quick tongue lady who could always convince her husband otherwise and Velvet's siblings, that put an emphasis on typical sibling relationships. For it's time, when this film was produced, it was outstanding (Academy Award winning) and now it is even more outstanding. People of all ages can enjoy this film because it's heartwarming with a touch of comedy that seeps into the heart of everyone. ... Read more

Reviews (8)

Lionel Barrymore In One Of MGM's Rare Excursions Into Horror
MGM, the studio with "more stars than there are in heaven" and the epitome of glamour and style in the golden years of Hollywood's heyday is not normally the studio one associates with the horror movie genre. In "The Devil Doll", however we have one of their biggest male stars (Lionel Barrymore) in a piece of very offbeat casting in a highly original story. It is of great interest to not only old style horror movie lovers but also to those intrigued by the innovative (for the time) special effects employed in this macabre little tale.

A product of the genius of Tod Browning who was responsible for the classic "Dracula", starring Bela Lugosi, "The Devil Doll", was based on a quite startling (for the time), novel titled "Burn, Witch Burn". In it's transfer to the screen it acquired quite a distinguished pedigree as it boasts a screenplay that was partially adapted by the one and only Erich Von Stroheim. It tells the strange story of Paul Lavond, (Barrymore) an escaped convict who was wrongly sent to prison after being framed by his business collegues. Escaping with him is a unbalanced scientist called Marcel (Henry B. Walthall) who prior to his imprisonment was carrying out some very macabre experiments to do with increasing the world's food supply by shrinking animals to tiny size. His wife Malita (Rafaela Ottiano in a suitably over the top performance) has continued these experiments during his absense. Bent on revenge against the men who wrongly set him up, Paul after Marcel's death, takes over the secret formula that Marcel now has used on a poor retarded girl which has shrunk her to miniature size. The formula not only reduces the person's size but also makes them totally obedient to the wishes of those who control them and Paul sets out for Paris to seek his revenge on his former collegues using his "Devil Dolls" to carry out his dirty deeds. To escape detection Paul distuishes himself as an old woman "Madame Mandelip", and goes into a doll making business where under the guise of supposedly selling his "unique and very lifelike little creations" to the families of the guilty men he will be able to destroy them with no way of it being traced back to him. For example one of the men is stabbed by one of Madame Mandelip's little terrors and is doomed to spend the rest of his life in a paralised state. The final man in the guilty trio only saves himself by publicly admitting his guilt which clears the now murderous Paul of any blame at least for the original crime. In a subplot Paul also makes contact with his long estranged daughter Lorriane (Maureen O'Sullivan) in disguise as Madame Mandelip and learns of the hatred she feels for the father that supposedly ruined her and her mother's life. Even after being cleared of the original crime Paul doing the first honourable thing since he escaped, doesn't reveal his identity to Lorraine who has now found a decent man to start her own new life with.

What is undoubtedly the real standout in this story are the innovative special effects employed which might look very simple by today's standards but were for 1936 outstanding in their design and execution on screen. Tod Browning's use of oversized sets and props like chairs, doors and fireplaces set against normal sized humans playing shrunken creatures is stunningly achieved and it gives this whole story a very sinister and at times quite grisly aspect. The horror element of course is very tame by today's horror standards but the film is a unique achievement in the progress of horror special effects. Of course the sterling cast really help to bolster what is essentially a "B" horror tale. Lionel Barrymore has never been more strangely cast than here and his characterisation of the old woman is certainly one of MGM's odder casting efforts. He dominates the proceedings as the macabre Madame Mandelip with her sinister mission to wipe out all "her" enemies and Barrymore helps make "The Devil Doll", memorable viewing as a result. Rafaela Ottiano complete with white streak in her hair a la "Bride of Frankenstein", is wonderful also as the mad scientist who is swept along in Paul's murderous scheme for revenge. Maureen O'Sullivan in one of her numerous MGM supporting roles in the 1930's has the largely unchallenging role of Paul's bitter daughter who never does find out the real identity of the kindly Madame Mandelip.

Not to be taken too seriously Tod Browning's "The Devil Doll", makes fascinating viewing. It contains what was a very original gimmick which has been employed countless times since in various horror efforts. Here we see it in it's original form and the film really is a great curiosity piece for its special effects and unlikely performance by one of MGM's respected Barrymore clan. Come to this film prepared not to be frightened by this story and you will find it an interesting little addition to 1930's horror stories which also shows how far screen horror has come in over 60 years. Tod Browning really was a total original with his film work and as a piece of macabre cinema "The Devil Doll" has a worthy place in horror movie history.

A Very Stupid Movie
This has to be one of the dumbest movies I have ever seen! I still can't figure out why it is called The Devil Doll. There was nothing scary what-so-ever about this movie. I could not wait for it to be over. I kept watching it hoping something scary would happen, but it never did. I would rather give it the Turkey Award then even one star.

Amazing Lionel
Wonderful, amazing, the best film I have ever watch (sorry for my English). Lionel s' interpretation is apoteosic, colossal, inhumane... The argument, original, the special effects unimaginable for the epoch. And the finish is able to emotion to Pol Pot or the same Milosevic. A good film is which what after you have seen too many times, you still feel terror, sadness, happiness... in some scenes. So this is a great film. ¡BRAVOOOOO!.

But why do their clothes shrink, too...??
Lionel Barrymore mightily chews up the scenery in this silly horror movie about a unjustly jailed man who, upon getting paroled, seeks revenge on the crooked businessmen who brought his downfall. There are a few gimmicks here: one is his method of revenge... Using a stolen formula that allows him to shrink humans down to puppet size and control them with his mind (FDA approval pending), Barrymore sends his shrunken zombies out to murder and torment his enemies. The second gimmick is that he uses a false identity as a cover so that he can carry out these nefarious deeds, and his new identity is as an elderly woman who runs a dollmaking shop... a big chance for Barrymore to ham it up in drag. Maureen O'Sullivan plays the daughter who doesn't suspect a thing... The movie is fun in an after-school creature feature kind of way... The revenge plot is ridiculously over-complicated, but hey, I'm sure no one intended this film to be taken as high art. Nice light entertainment, very cool special effects for the 1930s.

Slightly Campy, Mildly Off-Beat, and Weirdly Funny
Although time has reduced this film's "horror" level to nil, DEVIL DOLL remains a reasonably entertaining little movie about an escaped convict bent upon revenge on those who framed him--and who uses the skills of his mad-doctor friend to miniturize normal humans to doll size, so they might act as agents of his revenge.

The film's special effects hold up well enough, but the real pleasure of this film is in the performances of Lionel Barrymore as the escaped convict and Rafaela Ottiano as the mad-doctor, with Barrymore donning drag to escape police detection and Ottiano at her most memorably eccentric. Both have more fun than the law allows! ... Read more

Reviews (8)

Great Musical
This was a great film. Yes, the story is a little corny, but it was from the 30's and times were different, and who cares anyway? Eleanor Powell is great in this film and her dancing is amazing. I lost track of how many turns she managed in the final scenes - they were awe inspiring. I wish that Eleanor and Gene Kelly had made a musical together because I know it would've been terrific. Both James Stewart and Buddy Ebsen were adorable when they were young. Buddy's style was pretty amusing and I enjoyed watching him dance. This film was a real treat and I would watch it again any time!!!

One of the Great Musicals of the 1930s
If ever a person was truly "born to dance," it was Eleanor Powell--the first of MGM's great dancing stars and a performer still considered by many to be the single finest tap dancer to emerge from Hollywood. And with the 1936 film BORN TO DANCE, MGM offered Powell the single finest film of her entire career. Although extremely lightweight, the story of three sailors and their romantic complications has a very playful tone and witty script--which forms the perfect frame for a memorable score by the celebrated Cole Porter. The musical numbers are staged with a more subtle flash than one normally finds in 1930s musicals, and there are several complex ensemble numbers and the memorable "Easy to Love" and "I've Got You Under My Skin."

Not only was Powell a greatly gifted dancer, she was a clever commedian with a pleasing singing voice, and her playful performing style is particularly charming in such numbers as "Rap-Tap on Wood" and "Swinging the Jinx Away." Her leading man, somewhat surprisingly, is none other than James Stewart--and although he wasn't really a singer or a dancer he does extremely well with both, and he and Powell make a very entertaining couple. The entire cast is their equal, with Phil Silvers and Una Merkle amusing as bickering lovers, Buddy Ebsen demonstrating his remarkable talents as both eccentric dancer and clever comic, and Virginia Bruce the perfect femme fatale. Everything about the film sparkes and shines, right down from the sets to the polished performances. If you enjoy classic musicals of the 1930s, BORN TO DANCE is a must have! Strongly recommended.

BORN TO DANCE
James Stewart is a wonderful actor. After watching this movie with him and Eleanor Powell I found him to be a very good dancer and singer. He has a wonderful voice. It is a great all around good movie. Also, have to give credit to a young Buddy Ebson and the whole cast. It didn't surprise me to hear James Stewart sing, because I have collected a lot of his movies and found that there isn't to much that this man can not do. If you want a great entertaining old movie without the special effects they use nowadays then this is the movie I would HIGHLY recommend. If a movie has James Stewart in it then it is worth having!!!

Jimmy Stewart SINGING!?!?
In my humble opinion, I think Eleanor Powell was the greatest female dancer of all-time, and if you need convincing then pick up "Born To Dance". The story is typical 1930s fluff, but the songs by Cole Porter are now classics. In an early role it's also interesting to see Jimmy Stewart playing Powell's love interest. It was one of Jimmy's first starring roles, but unfortunately he tortured audiences with his singing ability or lack of, when he crooned "Easy To Love" to Eleanor Powell in the park. Thank your lucky stars that he really didn't try to dance!

The supporting cast is also excellent and includes:Frances Langford,Buddy Ebsen, and Una Merkel. "Born To Dance" is not 65 years old, but when it came out in 1936, MGM was finally beginning to make high quality musicals. (They soon would become the king of musicals in the 1940s!) There's not much wrong here other than Jimmy Stewart's singing. The recommended number is Powell's high energy number "Swinging The Jinx Away". Watch this movie when you have the blues, and Eleanor Powell and company will have you swinging the blues away...

Tap-dancing genius
Eleanor Powell was as great a dancer as Fred Astaire, but unfortunately she is not as well-remembered. Astaire himself said she was better than him. The dancing in the battleship scene at the end of the movie is too brilliant for words. I also say you must see the cake dance in "Rosalie", and the heavenly duet with Astaire in "Broadway Melody of 1940". ... Read more

Amazon.com

Jean Harlow and Spencer Tracy may not come immediately to mind as a classic screen team, but they are terrific together in this crackling melodrama set on the California waterfront. Tracy is superb as Dutch Miller, a scrappy fisherman too bullheaded to notice that pretty, pugnacious little cannery worker Hattie (Harlow) is stuck on him. When Dutch and Hattie finally do get together, the sexual heat they generate is something to see. He's never met a woman who can match him blow for blow. "I love dames with spirit," he tells her, holding her tight, "dames and fishes." Hattie lives in picturesque squalor with her sprawling extended family, including her wisecracking sister Lil (Una Merkel) and her scamp of a baby brother Jimmy (Mickey Rooney). Dutch takes Hattie away from all that--they fight all the way to the altar--but his pride and stubbornness destroy both his job and their marriage, and it's a long and winding road back to a happy reunion. Tracy shows enormous range here: his transformation from vain lunkhead to devoted husband is truly moving. Besides being a satisfying romantic drama, Riffraff also provides a telling expression of official Hollywood sentiment toward the social issues of the day. The movie's fishermen are overworked and underpaid, but striking for better wages is denounced as a reckless and arrogant act. And the one character who voices socialist positions is portrayed as a bomb-toting fiend. --Laura Mirsky ... Read more

Reviews (3)

Jean Harlow Shines in A Overlooked Role
Movie buffs know and love the Jean Harlow of the glossy sex comedy classics she made at MGM - DINNER AT EIGHT, LIBELED LADY, BOMBSHELL, etc. but Jean was also a wonderful little dramatic actress capable of giving moving, heartfelt performances like in this little gem. Jean is just terrific as a dreamy cannery worker who dreams of a better life but has pinned her hopes on her boorish beau, Spencer Tracy. Rest assured, Jeannie can give as good as she gets though when that "gas bag" as she calls him turns his temper her way. This earthy little picture looks far more like a Warner Bros. effort than the MGM product it was although MGM made it more of a comedy than Warners would have. The wonderful Una Merkel has one of her best "best friend" roles as Jean's more practical sister. Harlow and Tracy made a terrific screen duo, I think only Katharine Hepburn had more chemistry when teamed with Tracy of all his many leading ladies. This movie is no RED DUST or REDHEADED WOMAN as a classic Harlow work but I would definately put it at the top of her lesser MGM movies over such better known pictures as WIFE VS. SECRETARY or SARATOGA.

Spencer Tracy and Jean Harlow as waterfront "Riff Raff"
Spencer Tracy provides a surprisingly sub-standard performance in "Riff Raff," a 1936 melodrama directed by J. Watler Ruben. Tracy plays Dutch Miller, a fisherman, who finally notices and marries cannery worker Hattie, played by Jean Harlow. Dutch gets a swelled head because he helped settle a strike and ends up not only getting kicked out of the union but also fired from his job. After he abandons Hattie, she steals some money for him, but ends up getting caught and being sent to prison. Dutch manages to get a second chance and becomes a hero when he stops a plot to dynamite the ship. Meanwhile, Hattie who gave birth in prison and gave the baby up to Lil, escapes from prison. The story is a bit complicated and is not helped at all by the fact that every other scene features a large crowd in which the main characters tend to get lost. Tracy is playing a rough waterfront character and while Dutch is not supposed to be likeable, Tracy lays it on a bit thick, spending way too much time yelling and Harlow is forced to reply in kind. There is supposed to be something romantic in the fact that she is the only dame he has ever met who can go toe to toe with him, but that quickly wears thin. In fact, there is a scene where Dutch and Hattie are hiding out from the police who are ready to drag her back to prison and the two characters insist on yelling at each other at the top of their voices. "Riff Raff" is a vastly inferior film to the other Tracy-Harlow effort made that same year, the classic "Libeled Lady." The supporting cast features a nice performance by Una Merkel as Hattie's sister Lil and a very young Mickey Rooney as little brother Jimmy, but the film ends up being something of a disappointment given our high expectations for Tracy as an actor.

Great Harlow & Tracy!
This is a wonderful old thirties gem with Jean Harlow and Spencer Tracy, who exude some real chemistry! Some typically corny 30's plot elements - girl takes the "fall" for the man she loves - but that's what makes it great! ... Read more