Ladies of Leisure
"She was a 'party girl'—until she met the man who saw the woman beneath the mask!"
Plot
Jerry Strong, the son of a wealthy railroad tycoon, escapes a rowdy party at his New York penthouse to take a late-night drive in the country. He encounters Kay Arnold, a self-described 'party girl' fleeing a wild yacht party, and offers her a ride back to the city. Intrigued by her hidden depth, Jerry hires Kay to model for his new painting titled 'Hope,' insisting she remove her heavy makeup to reveal her true self. As their sessions progress, the two fall deeply in love, but their relationship is threatened by Jerry's socialite fiancée and his disapproving father. When Jerry's mother implores Kay to leave him for the sake of his future, Kay attempts a tragic sacrifice that ultimately tests the strength of their bond.
About the Production
The film was Frank Capra's fifth sound production and the first project where Harry Cohn gave him complete creative control. Originally titled 'Ladies of the Evening' after the stage play, the title was changed to sound more sophisticated. Production took place between December 1929 and January 1930. Capra famously struggled with the initial casting of Barbara Stanwyck, who was sullen during her interview, but was convinced by her husband Frank Fay to watch a screen test that ultimately moved him to tears.
Historical Background
Released during the early Great Depression and the 'Pre-Code' era of Hollywood, the film reflects the shifting social morals of the time. It was made during the transition from silent to sound cinema, a period where many actors struggled to adapt to dialogue. The film's portrayal of 'party girls' and class disparity resonated with audiences who were beginning to feel the economic squeeze of the 1930s. It also represents the rise of Columbia Pictures as a legitimate competitor to the 'Big Five' studios.
Why This Film Matters
The film is a landmark in the 'fallen woman' genre, a popular Pre-Code theme where a woman with a 'past' seeks redemption through love. It established the 'Capra-esque' style of focusing on the inherent goodness of the common person versus the coldness of the elite. Furthermore, it launched the career of one of cinema's most enduring icons, Barbara Stanwyck, and solidified the creative partnership between Capra and Jo Swerling.
Making Of
The production was a turning point for Columbia Pictures, moving it from 'Poverty Row' toward major studio status. Capra and cinematographer Joseph Walker experimented with lighting techniques, specifically backlighting Stanwyck to create a 'halo' effect that softened her features. A significant challenge was Stanwyck's acting style; she was a 'one-take' actress who found it difficult to replicate the raw emotion of her first performance. Capra adapted his directing style to accommodate this, often filming her first takes while other actors were still getting their bearings. The chemistry between Stanwyck and Ralph Graves was noted as being particularly natural, despite Graves's more traditional silent-era acting roots.
Visual Style
Joseph Walker utilized innovative backlighting and soft-focus lenses to give the film a dreamlike quality. He ground his own lenses to suit specific actresses, a technique he perfected while working with Capra. The film features notable 'erotic' rain scenes and delicate night photography that were ahead of their time for 1930.
Innovations
The film is noted for its fluid camera movement at a time when sound equipment usually forced cameras to remain stationary in soundproof 'iceboxes.' Capra and Walker used multiple camera setups to capture Stanwyck's first-take performances from different angles simultaneously.
Music
The score was composed by Mischa Bakaleinikoff. As an early talkie, the music is used sparingly, primarily to underscore the more dramatic romantic sequences. The film features the song 'The Old Blue Number' during a party scene.
Famous Quotes
Kay Arnold: 'You know the old bromide: when in Greece, open a restaurant.'
Kay Arnold: 'When a dress costs over a hundred bucks, it's a frock.'
Jerry Strong: 'I can't paint you unless I can see you. And I can't see you with all this camouflage.'
Dot Lamar: 'Do I look like a small cup of coffee?'
Kay Arnold: 'Brother, that's my racket—I'm a party girl.'
Memorable Scenes
- The opening scene featuring drunken revelers throwing bottles off a penthouse roof, establishing the decadence of the rich.
- The scene where Jerry wipes the makeup off Kay's face to see her 'true' self for the first time.
- The 'rain scene' on the balcony where the two characters first acknowledge their feelings for one another.
- Kay's emotional confrontation with Jerry's mother, where she realizes she must give him up.
- The climactic scene on the ship where Kay, in despair, attempts to jump overboard.
Did You Know?
- This film is widely credited with making Barbara Stanwyck a major Hollywood star.
- Frank Capra admitted in his autobiography that he was so infatuated with Stanwyck during filming that he might have married her if she were free.
- The film was released in both sound and silent versions for theaters not yet equipped for audio technology.
- Director Frank Capra and cinematographer Joseph Walker began a 20-film partnership with this production.
- Barbara Stanwyck's character, Kay Arnold, was a euphemism for a prostitute, a common trope in Pre-Code Hollywood dramas.
- The screenplay was written by Jo Swerling, who initially called Capra's first draft a 'putrid piece of gorgonzola.'
- Marie Prevost, who plays the roommate Dot, was a former silent film star whose career was declining due to weight gain, which the film's script cruelly mocks.
- The 'Hope' painting featured in the film was meant to represent the spiritual awakening of a 'fallen woman.'
- Capra discovered that Stanwyck gave her best performance on the first take and would lose emotional honesty in rehearsals.
- To preserve Stanwyck's spontaneity, Capra began rehearsing the other actors without her present.
What Critics Said
At the time of release, critics praised the film for its emotional depth and particularly for Barbara Stanwyck's 'thunderous' and 'sincere' performance. Modern critics view it as a sophisticated early talkie that avoids the static 'stagey' feel of many 1930 films. It currently holds a high rating on Rotten Tomatoes (93%), with praise directed at its visual style and the chemistry of the leads.
What Audiences Thought
Audiences in 1930 responded enthusiastically, making it a major hit for the struggling Columbia Pictures. The film's blend of melodrama and snappy, cynical dialogue (typical of Jo Swerling) appealed to urban audiences. It was particularly popular with female viewers who identified with Stanwyck's tough but vulnerable persona.
Awards & Recognition
- National Board of Review: Top Ten Films (1930)
Film Connections
Influenced By
- Ladies of the Evening (1924 play by Milton Herbert Gropper)
- The Noose (stage play starring Stanwyck)
This Film Influenced
- Women of Glamour (1937 remake)
- It Happened One Night (1934)
- The Miracle Woman (1931)
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Film Restoration
The film is well-preserved. Both the original sound version and the silent version are held in the Library of Congress. It has been restored and released as part of 'Frank Capra: The Early Collection' on DVD.