Fast and Loose
"You can buy anything you want… except love!"
Plot
The Lenox family of Long Island represents the pinnacle of wealthy, traditional high society, but their children, Marion and Bertie, are far more irreverent than their parents, Bronson and Carrie. Turmoil ensues when Marion abruptly ditches her own engagement party to a stuffy British Lord and falls for Henry Morgan, a man she later discovers is the family's newly hired auto mechanic. Simultaneously, her brother Bertie becomes enamored with Alice O'Neil, a virtuous chorus girl who refuses to marry him until he cleans up his playboy lifestyle and stops drinking. As the parents attempt to intervene and prevent their children from 'marrying beneath' their station, the two couples' paths collide at a local roadhouse. After a chaotic police raid and a series of social misunderstandings, the family patriarch eventually realizes that these working-class partners might be the best influence for his wayward children.
About the Production
The film was one of the many early 'talkies' produced at Paramount's East Coast facility in Astoria to take advantage of Broadway talent. It served as a significant early vehicle for Miriam Hopkins, who was an established stage star at the time. Notably, the film features the second Hollywood assignment for legendary writer-director Preston Sturges, who provided the snappy dialogue that helped the film transcend its stage-bound origins.
Historical Background
Released in 1930, 'Fast and Loose' arrived during the 'Pre-Code' era of Hollywood, a brief window between the adoption of sound and the rigorous enforcement of the Hays Code in 1934. This period allowed for more frank depictions of class conflict, alcohol consumption (despite Prohibition), and sexual suggestion. The film reflects the shifting social mores of the Jazz Age, contrasting the rigid Victorian values of the older generation with the 'flapper' sensibilities and social mobility of the youth.
Why This Film Matters
The film is historically significant primarily for its cast and crew: it represents the birth of 'Carole Lombard' (via the credit typo) and showcases the early writing style of Preston Sturges, whose 'screwball' sensibilities are evident in the dialogue. It also serves as a prime example of the 'Astoria' style of filmmaking, where Hollywood glamour met Broadway's sophisticated wit.
Making Of
The production was part of Paramount's strategy to adapt successful Broadway plays into sound films using the original New York-based talent. Director Fred C. Newmeyer, known for his work with silent comedy legend Harold Lloyd, was tasked with transitioning the witty, fast-paced dialogue of the stage play to the screen. The production faced the typical challenges of early sound cinema, including static camera placements necessitated by bulky soundproofing 'blimps' for the cameras. However, the chemistry between Hopkins and Starrett, particularly in the scene where she joins him under a car, was noted for its naturalism and charm, breaking away from the stiff theatricality common in 1930.
Visual Style
The cinematography by William O. Steiner is characteristic of early sound films, featuring many static medium shots and 'room-by-room' staging. However, it does include some creative outdoor sequences, such as a beach swimming scene and a charmingly staged sequence involving the leads working under an automobile.
Innovations
The film is a notable example of early sound synchronization in a non-musical comedy, focusing on capturing the nuances of sophisticated 'drawing room' dialogue without the aid of a musical background.
Music
The film does not have a formal musical score in the modern sense, as was common in 1930. It relies on diegetic music (music occurring within the world of the film) and the rhythmic, rapid-fire dialogue provided by Preston Sturges to maintain its pace.
Famous Quotes
Marion Lenox: 'I know it isn't sensible to marry a mechanic and live in Birdsville... but have I ever done anything sensible?'
Alice O'Neil: 'You know it's all right for a chorus girl to be a sap... in our business you don't need brains, only legs.'
Bronson Lenox: 'I'm still not sure that I want that man to be the father of my grandchildren.'
Millie: 'The only orange blossoms you'll ever see will come out of a cocktail shaker!'
Memorable Scenes
- The Beach Meeting: Marion ditches her engagement party and meets Henry at the beach, pretending to insult him while clearly being smitten.
- Under the Car: A charming and intimate scene where Marion joins Henry while he is repairing an automobile, showing her willingness to enter his world.
- The Roadhouse Raid: The climactic sequence where the entire family and their various love interests end up at a rowdy roadhouse just as the police arrive to raid the establishment.
Did You Know?
- A mistake in the opening credits famously misspelled 'Carol Lombard' as 'Carole Lombard.' The actress liked the look of the extra 'e' so much that she permanently adopted it as her professional stage name.
- This was only the second feature film appearance for Miriam Hopkins, who had just signed a contract with Paramount.
- The film is based on the 1924 Broadway play 'The Best People' by David Gray and Avery Hopwood.
- Preston Sturges, who wrote the dialogue, was paid $2,500 for his work on the script.
- Charles Starrett, who plays the mechanic Henry Morgan, would later become a major star in Western films, famously known as 'The Durango Kid.'
- The film was shot entirely in New York, rather than Hollywood, which was common for Paramount's 'prestige' theatrical adaptations of the era.
- Frank Morgan, who plays the father, would later achieve cinematic immortality as the titular character in 'The Wizard of Oz' (1939).
- Despite being marketed as a Carole Lombard film in modern collections, she actually plays a supporting role to Miriam Hopkins' lead.
What Critics Said
At the time of its release, critics found it to be a 'pretty amusing' and 'lively' romantic comedy that successfully translated a popular play to the screen. Modern critics, such as those at Kino Lorber, have rediscovered it as a 'nice surprise' that overcomes the technical limitations of early sound. While some find the camera work static, the performances—particularly Miriam Hopkins' breathless delivery—are frequently praised for their energy.
What Audiences Thought
Contemporary audiences enjoyed the film as a lighthearted escapist comedy during the early years of the Great Depression. Today, it maintains a modest but appreciative following among classic film enthusiasts who view it as a vital piece of Carole Lombard's and Miriam Hopkins' early filmography.
Film Connections
Influenced By
- The Best People (1924 play)
- The Best People (1925 silent film)
This Film Influenced
- My Man Godfrey (1936)
- The Philadelphia Story (1940)
- Easy Living (1937)
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Film Restoration
The film is preserved and was notably remastered and released on Blu-ray by Kino Lorber as part of the 'Carole Lombard Collection I' in 2020.