Realizing that as a classless brute with no breeding that even being responsible for the building of those huge skyline penthouses, he won't get an invitation for cocktails, burly George Bancroft decides to try to learn some manners as he pursues the pretty Mary Astor, a society matron ironically with the name of Mrs. Howell. Separated from a husband she despises (Fredric March), Astor welcomes the change of pace from the square jawed mannered upper crust, with one acquaintance declaring as to why, "Ladies love brutes." Indeed, she may find him refreshing, she does agree to go out with him, but love? Probably not. It comes down to gratitude when he saves her son from a kidnapping scheme he put into motion gone wrong; His own son is kidnapped along with Astor's after he arranged the boy to be taken away for a "holiday", and enemies of Bancroft's discover this and step in his way to get some high society dough for themselves. Bancroft, having been politely dumped by Astor, pays her a visit, and vows to her and March that he will get their son back, no matter what. She promises that if he does, she will divorce her husband and marry him, unaware of his part in the scheme.
Just one of many forgotten leading men of the 1920's and 30's, George Bancroft was a fine actor who turned character acting into an art, making what would normally be a supporting player into a lead. He might be uncouth in typical terms, but when you dig through the harsh street accent and find who he is underneath, you really see the big teddy bear he really is, which is obviously what Ms. Astor's character sees. The plot device of Bancroft arranging for the son to be kidnapped in order to try to win Astor back through his heroism seems rather desperate, but in the nature of this film, it is necessary in order to resolve the plot the way it is. Astor is fantastic, a truly lovely heroine, filled with class yet not snobbish. March is completely wasted in his part, obviously just taken to fulfill contract obligations with Paramount, and a role many lesser actors could have played. There's only one scene where he gets to show any emotion other than a man dealing with a loveless marriage. At any rate, it's Bancroft who wins the plaudits for this film, an interesting comedy of manners that switches the "Pygmalion" theme to focus on a male character rather than the cockney British flower girl of the George Bernard Shaw play.
Just one of many forgotten leading men of the 1920's and 30's, George Bancroft was a fine actor who turned character acting into an art, making what would normally be a supporting player into a lead. He might be uncouth in typical terms, but when you dig through the harsh street accent and find who he is underneath, you really see the big teddy bear he really is, which is obviously what Ms. Astor's character sees. The plot device of Bancroft arranging for the son to be kidnapped in order to try to win Astor back through his heroism seems rather desperate, but in the nature of this film, it is necessary in order to resolve the plot the way it is. Astor is fantastic, a truly lovely heroine, filled with class yet not snobbish. March is completely wasted in his part, obviously just taken to fulfill contract obligations with Paramount, and a role many lesser actors could have played. There's only one scene where he gets to show any emotion other than a man dealing with a loveless marriage. At any rate, it's Bancroft who wins the plaudits for this film, an interesting comedy of manners that switches the "Pygmalion" theme to focus on a male character rather than the cockney British flower girl of the George Bernard Shaw play.