RECKLESS (Metro-Goldwyn-Mayer, 1935), directed by Victor Fleming, is an odd little title for a movie classified as a musical for that there's no reckless driving involved nor reckless living to classify its story. It is, however, a title tune for a production number delivered by the studio's platinum blonde bombshell, Jean Harlow (1911-1937). For Harlow starring in a backstage story where she gets to "sing" and dance, one would expect a sort of "gold digger" theme involving three sassy Broadway show girls (possibly Harlow, Una Merkel and Patsy Kelly) out to nab some rich husbands. Instead, RECKLESS is very much Harlow's as the center of attention for a scripted story by Oliver Jeffries supposedly based loosely on the life and incidents of an actual entertainer named Lilly Holman.Set on Broadway in the Great White Way, Ned Riley (William Powell), is introduced as a sports promoter staying at the 43rd Street Hotel with his assistants, Blossom (Nat Pendleton) and Smiley (Ted Healy). His sleep is interrupted by the arrival of Granny (May Robson) coming to Ned to have him raise bail for her granddaughter, stage star Mona Leslie (Jean Harlow), who's being held on a reckless driving charge at the House of Detention for Women. Ned, being Mona's agent and discoverer, arranges her release in time for the upcoming charity benefit, only to discover the stage show arranged by millionaire playboy, Bob Morrison Jr. (Franchot Tone), who has bought every seat in the theater so he could be the only one to watch Mona perform. Later, Mona becomes romantically involved with Bob. They eventually elope, much to the chagrin of Bob's father (Henry Stephenson), having high hopes for his son marrying Josephine Mercer (Rosalind Russell), his childhood sweetheart. Though Josephine comes to like Mona, the rest of Bob's family and friends prove otherwise, making her feel like an outsider. After Josephine marries Ralph Watson (Leon Ames, billed as Leon Waycoff), Bob realizes the error in his ways, leading to tragedy involving Mona's custody battle over her baby and attempt of a theatrical comeback to a very unruly audience.In the listing of players credited (in order of appearance rather than the standard billing), there's Mickey Rooney as Eddie, a little boy briefly seen in two scenes with William Powell; Robert Light (Paul Mercer, Josephine's brother); James Ellison (Dale Eberly); Charles Middleton, Harold Huber and Charles C. Wilson. There's also famous wrestlers of the day, Man Mountain Dean, Hans Steinke and Ernie Hayes, appearing as themselves. Look quickly for Allan Jones (singer) and Margaret Dumont (woman in audience), best known for their major supporting performances opposite the Marx Brothers in A NIGHT AT THE OPERA (MGM, 1935) each taking time away from that comedy classic in cameo appearances. Songs featured in this production include: "Reckless" (by Jerome Kern and Oscar Hammerstein/ Ensemble: Jean Harlow, Allan Jones, Carl Randall and Nina Mae McKinney); "Everything's Been Done Before" (sung by Allan Jones); "Cyclone" (dance number); "Here's What My Heart is Saying" and "Reckless." Though Harlow sings, her vocalization is obviously dubbed with choreography lavish scale but forgettable. Interestingly, the "Reckless" number was selected in part of its musical segment profiled for the documentary on MGM musicals titled THAT'S ENTERTAINMENT (1974).The problem about RECKLESS, clocked at 97 minutes and produced by David O. Selznick, is that it could have been a really fine musical, even better. Rather than presenting a full comedy with standard singing and dancing, the plot generally looks more like a setback to those melodramatic overtones found in those early talkie MGM musicals (1929-30). RECKLESS does have its share of amusements and wisecracks commonly found in thirties movies, however, with William Powell doing his share with Harlow and the rest of the cast. Powell and Harlow had much better luck in the hilarious comedy, LIBELED LADY (1936), but it's only during the latter portion of RECKLESS does the story weaken to conclusion that doesn't ring true. Harlow and Franchot Tone have worked amusingly well together in both BOMBSHELL (1933) and THE GIRL FROM MISSOURI (1934), but with RECKLESS having their serious moments together, especially during Tone's drunken tantrums, they are either satisfactory or a bit unpleasant. Rosalind Russell is a refreshing presence here while the rest of the cast tries hard to rise above this so-so script.Considering mixed reactions then and now, RECKLESS wouldn't be classified as Hollywood's greatest musicals. It's somewhat all-star cast and MGM gloss does save it from being lost and forgotten to classic film historians, especially over the years with its presentations in revival movie houses in New York City as Museum of Modern Art (1980 to a full house) or the Regency Theater in the seventies and eighties, followed by availability on video cassette (1995), DVD and broadcasts on cable television's Turner Classic Movies since 1994. (**)

Apparently when this debuted it was a box office dud. And, apparently Jean Harlow was offended because she thought the studio deliberately put parallels into the script that mirrored her tragic marriage to a man who died under suspicious circumstances (even today, no one seems exactly sure what happened to her husband, Paul Bern). What is obvious is that Harlow should have been offended as the script clearly takes advantage of Bern's death. Now if the film had come out shortly after this tragedy, perhaps the studio could have been excused as they might have been able to claim that they made such a film to help Harlow's image (after all, like the character in the film, the public COULD have blamed Harlow for his death). But, with a three year gap between them, it's obvious they were just trying to exploit the tragedy for ticket sales--and I am surprised that apparently William Powell was able to convince Harlow to play this part. Frankly, based on the end results, I think she should have faced suspension and refused! Now this isn't because all the film is bad--but the ending is just god-awful and makes the entire film come off as rather seedy and stupid.It's important to note that after the film was completed, a total idiot at the studio thought they should add some song and dance numbers--even though Harlow was incapable of doing either--especially sing. Since she couldn't sing, they dubbed another's voice and the end result is, without a doubt, the WORST job of dubbing in the history of Hollywood. At first, I really did think that they deliberately did it badly as a parody--but later, at the end, is a supposedly poignant moment and once again, her lips aren't even close to being in sync and the voice is so obviously another's. Heck, had they used Paul Robson's voice, I don't it would have come off much worse!! As far as the story goes, the first 90% of the film (aside from the singing and dancing) isn't bad even if it is taking full advantage of the Bern tragedy (as well as the death Libby Holman's husband--which is even closer to the plot of this film than the Harlow/Bern death). Harlow plays an actress who is very much like herself. When she meets a rich society guy (Franchot Tone), they fall in love and soon marry--much to the consternation of her agent (William Powell--who really was in love with Harlow in real life). However, things are not rosy, as Tone's father and many society folk don't accept a common actress. But, Harlow handles it very well and soon the society swells warm up to her. However, Tone is a complete loser and spends all his time drinking and moping--and regretting marrying Harlow. Instead, he thinks back to his old fiancée (Rosalind Russell) and wishes he'd married her. Russell is classy and from an old established family--and Tone seems much more concerned about this than whether or not his wife loves or respects him. Eventually, Tone becomes so depressed that he kills himself (just like Holman and Harlow's husbands). And, the rich society swells turn on Harlow even though she is practically angelic in how she handles this. All this leads to her returning to the stage and a completely horrible ending that simply made me cringe.The bottom line is that the actors try their best but the script is horrid (in spots) and the singing is cringe-worthy. It's sad, as without the terrible ending and singing, I would have given this one a 7. As it is, 4 is probably a bit charitable. Worth seeing because it's so awful and exploitative but not a good film by any standard.

...this movie rapidly descends into maudlin melodrama that is practically unwatchable. The movie starts out with promise with a feisty Granny Lesie (May Robson) pulling a rather hung over Ned Riley (William Powell) out of bed to bail playful star Mona Leslie (Jean Harlow) out of jail. These early scenes would make any fan of these three want to stick around for more, but believe me, you'll regret that decision. Things go downhill rapidly when Mona meets avid fan and drunken playboy Bob Harrison Jr. (Franchot Tone), whose enthusiasm wanes and drunkenness worsens after the two are hastily married. Every indignity you can think of is flung at Harlow's character at a time in Harlow's life when she herself had recently been through a great personal tragedy, and you just get the feeling that MGM is using that tragedy to sell movie tickets. It really is a sad spectacle for any Harlow fan.The melodrama grows to ridiculous proportions by the end of the film, with Mona Leslie even being booed by fans and her giving a preposterous on stage speech as a result. All of this just crowds out any promise with which the film started. Avoid this one.

This starts off as an innocuous pleasure. Harlow & Powell both sparkle, the musical numbers are enjoyable, and "Granny" is delightfully comic. Some of the other supporting players are also excellent, including a really young Rosalind Russell. You'll also see Mickey Rooney when he was just a kid actor--no shtick.Was this movie written by a committee? Suddenly with a thud, or, you might say, a bang, the movies crashes into melodrama-land. I've never seen such a jarring shift, and totally unbelievable. You feel you've been totally had, and the slight compensations the movie offers are just not worth it. Don't just pass on this movie--boycott it.