Pat O'Brien's character is the purported hero or at least the nominal protagonist, but in today's terms a grade A jerk/nuisance/stalker.
Yet we're supposed to believe that Joan Blondell's character falls for him, for no apparent reason.
This is routine for romantic comedies of the 1930s, and, though it's always fun to watch Blondell & Eugene Pallette, there's nothing special about this film.
(I mean "gender dynamics" in terms of what Hollywood writers, directors, and producers thought would go over well with their studios' target audience. Of course, nowadays, we'd call it by its name: sexual harassment.)
Yet we're supposed to believe that Joan Blondell's character falls for him, for no apparent reason.
This is routine for romantic comedies of the 1930s, and, though it's always fun to watch Blondell & Eugene Pallette, there's nothing special about this film.
(I mean "gender dynamics" in terms of what Hollywood writers, directors, and producers thought would go over well with their studios' target audience. Of course, nowadays, we'd call it by its name: sexual harassment.)