What is really remarkable about this pre-code drama from MGM is that it takes a typical depression era problem and shows the audience that issues are not always resolved, that not all so-called bad girls are really bad, and that survival sometimes means doing things that others will judge you ethically for paths that you had no other choice for chosing. This shows a typical large lower class family, waking up at the start of their day, and arguing over every little thing, from no butter at the breakfast table to who will need to get into the bathroom first. The arguments are silly, but then so is so much family interaction, and this extended sequence (with Clara Blandick and J. Farrell MacDonald as the gruff parents, and Constance Bennett, Anita Page and Jack Hanlon as their children) is so real that it is almost like a camera was planted in some real family's kitchen and followed them around as they went about their day. Bennett goes to work, is noticed by the boss (Adolph Menjou), becomes his "kept woman", then falls in love with the not yet successful Robert Montgomery. Even though Bennett sends her family money after moving out, they pretty much disown her for what they consider immoral behavior.Meanwhile, sister Page gets married to rough around the edges Clark Gable who sees Bennett outside the house at Christmas time and gives her the third degree for bringing shame to the family. Bennett, attending social events and swank parties, is torn between both true love with Montgomery and financial security with Menjou. Old acquaintance (and veteran kept woman) Marjorie Rambeau gives her hell for considering dumping Menjou for Montgomery. the script gives the audience the chance to see the conflict within Bennett's mind. She respects Menjou but doesn't love him, and loves Montgomery, but is afraid of being poor again. So what is a girl to do? That's where the script leaves the audience the choice to guide her fate after the MGM lion roars the end, and it's an interesting way of presenting this situation. Bennett never seems like a girl from a poor family, with her regal ways and fastidious way of making herself up, but then again, many early talkie female movie stars (like Stanwyck and Crawford) never looked like they came from poverty either. Menjou, although using his power and position to make Bennett his mistress, is not really a cad, and that gives him some sympathy. Montgomery's character, however, is not really developed. At the bottom of the billing, Clark Gable first got notice with his small part (three scenes), and it is obvious that he was being geared for stardom. The future Auntie Em (Clara Blandick) is no-nonsense and tough as the mother, and J. Farrell MacDonald shines in a scene after Bennett has been rejected by her mother where he comes to her for financial help (presumably for a visit to the bootlegger). Small elements like this makes this rise above the many similar women's dramas of the pre-code depression early talkie era, and that makes this a must.

The shopgirl-turned-clotheshorse concept was a staple of 1920's a 30's films, with Joan Crawford wringing quite a bit of success out of the formula. Here, Bennett gives it a go in a story that was based on a 1909 stage play. She portrays the eldest of five children living with their parents in a squalid, cramped New York tenement. The father resists working while the mother barely manages to wrangle the kids and put supper on the table. Bennett toils behind the tie counter at a department store until one day she gets the opportunity to pose as a model for advertising artists. She doesn't stop with this modest success and proceeds to hook up with the boss (Menjou), who fixes her up with a fancy apartment and all the jewels and furs she can handle. During this, she aids her family as well, though a few of them reject her for the way she earns her keep. On an extended visit to Colorado, she happens upon handsome young writer Montgomery and quickly falls for him. She decides to give up her lavish "kept" lifestyle and return to work while he is away on assignment, knowing he will be back for her to marry him. But can she take that step backwards? Bennett, one of the highest paid and most popular stars of the era presents an appealing and attractive persona (check out that waist!) She knows that what she's doing is "wrong", yet circumstances seem to prevent her from doing otherwise unless she wants to exist in poverty. Menjou is assured and manipulative in his role. Montgomery is quite fresh and likable for the better part of his screen time. Page appears to great advantage as Bennett's far earthier sister who winds up wed to Gable in one of his very earliest roles. He's handsome though his character is a little self-righteous. Rambeau makes an impression as one of Bennett's sidekicks in the modeling biz who also reaches for the top in the mistress game. Virtually all of the cast members give vivid performances. The opening sequences in the rundown apartment are quite fascinating in their snappy dialogue and depiction of the hard times. Today's audiences will be able to see through the predictable plotting, but the film still holds interest. Though the Hays Office is sometimes blamed for tampering with the material, the 1917 silent version had at least as downbeat an ending as this one does. In fact, if the story were to end any other way than it does, there'd be very little point to it all!

Wonderful story ruined by Hays Office has fabulous Constance Bennett escaping her New York slum upbringing by becoming a model and mistress to Adolphe Menjou. All is well until she runs into reporter Robert Montgomery in Colorado Springs (the Wild West in 1931). He's off to South America and asks Bennett to be good and wait for him. Well that lasts about a month. She runs out of money and goes back to Menjou. Better than it sounds until the hack ending. Solid performances by the stars, especially Bennett, and ably supported by Anita Page, Marjorie Rambeau, Clark Gable (his first MGM film), J. Farrell MacDonald, Clara Blandick, Jack Hanlon (as the sullen brother), and Hedda Hopper. The opening tenement scene is just wonderful. Gable is dynamic is his first big part. Rambeau is always terrific. Page is quite good in a supporting role. Menjou is slimy, but Constance Bennett is front and center and mesmerizing. She was a major star of her time--too bad she's mostly forgotten now.

Having returned to cinema after a five year absence, Gable began to draw attention to himself on the screen with the aid of talking films like this one. Silent features did nothing for him as an actor, but hearing him speak provided him with regular work.