Our Blushing Brides
"Three girls—three guys—three roads to happiness!"
Plot
Jerry, Connie, and Franky are three ambitious roommates working as shopgirls in a bustling New York City department store, each dreaming of escaping their working-class lives by marrying into wealth. Connie enters a reckless affair with David Jardine, the store owner's younger son, while Franky falls for Marty, a smooth-talking man she believes is a millionaire but who is actually a professional thief. Jerry, the most pragmatic and virtuous of the trio, works as a clothing model and catches the eye of Tony Jardine, David's suave older brother. While her friends suffer tragic consequences—Connie faces heartbreak and suicide when David chooses a socialite, and Franky is nearly arrested alongside her criminal beau—Jerry steadfastly maintains her moral integrity. Ultimately, her refusal to be Tony's mistress leads him to realize her true worth, culminating in a sincere marriage proposal that rewards her virtue.
About the Production
This film served as the final installment in an unofficial 'Our' trilogy starring Joan Crawford, Anita Page, and Dorothy Sebastian, following 'Our Dancing Daughters' (1928) and 'Our Modern Maidens' (1929). Unlike its predecessors, which were silent or part-talkie, this was a fully synchronized sound production. The film was specifically designed to transition Joan Crawford from her 'Jazz Age flapper' persona into a more sophisticated 'shopgirl-Cinderella' archetype that resonated with Depression-era audiences. Production was overseen by Harry Beaumont, who directed all three films in the series.
Historical Background
Released in 1930, the film arrived just as the Great Depression began to take a firm hold on the American psyche. The shift from the 'flapper' characters of the 1920s to the 'shopgirl' characters of this film reflected the changing economic reality where survival and upward mobility were no longer about parties, but about employment and social security. It captures the 'Pre-Code' era of Hollywood, a brief window where films could explore more mature themes like suicide, pre-marital affairs, and criminal lifestyles with more frankness than would be allowed after the strict enforcement of the Motion Picture Production Code in 1934.
Why This Film Matters
The film is culturally significant for cementing the 'shopgirl' archetype that would define Joan Crawford's career for the next decade. It established a narrative template for 'working girl' movies that allowed female audiences to see their own struggles reflected on screen while still indulging in the 'Cinderella' fantasy of marrying a wealthy benefactor. Furthermore, it stands as a prime example of MGM's 'house style' of the early 1930s, characterized by high-fashion costumes and opulent Art Deco set designs.
Making Of
The production faced significant challenges with early sound technology, which is occasionally evident in the stilted nature of some dialogue scenes. Director Harry Beaumont had to balance the film's melodramatic plot with the technical limitations of bulky microphones and cameras. Censors in Massachusetts originally objected to several scenes, including a 'drunk scene' and a 'kimono scene' featuring Crawford and Montgomery; the studio was forced to make substitutions to satisfy local decency boards. The film's costumes were a high priority for MGM, as they wanted to maintain Crawford's status as a style icon while grounding her in a more relatable, working-class role.
Visual Style
The cinematography by Merritt B. Gerstad is notable for its use of soft lighting to enhance the glamour of the lead actresses. The camera work is somewhat static due to the constraints of early sound recording, but it effectively captures the contrast between the cramped, dingy apartment of the girls and the sprawling, luxurious estates of the Jardine family.
Innovations
While not revolutionary, the film is a solid example of early sound synchronization. Its primary technical achievement lies in its art direction and costume design, which pushed the boundaries of studio-bound realism to create a highly stylized, aspirational version of New York City.
Music
The film features a score that includes early sound era musical flourishes, with Dimitri Tiomkin contributing to the musical arrangements. The use of a phonograph in the girls' apartment to play jazz music serves as a bridge between the silent era's 'Jazz Baby' themes and the new world of 'talkies.'
Famous Quotes
Jerry: 'I'm not looking for a man to keep me. I'm looking for a man I can keep.'
Tony: 'You're a very unusual girl, Jerry. Most girls in your position would be only too glad to have a friend like me.'
Jerry: 'I don't want a friend like you, Tony. I want a husband.'
Memorable Scenes
- The elaborate Art Deco fashion show where Jerry models lingerie and evening gowns.
- The tragic climax where Connie commits suicide by taking poison while listening to the radio broadcast of David's wedding to another woman.
- The scene in Tony's 'treehouse' retreat where Jerry rejects his advances, asserting her moral independence.
Did You Know?
- This was Joan Crawford's 31st film and her fourth sound picture.
- Despite the similar titles and recurring cast, the actresses play different characters in each of the three 'Our' films.
- Joan Crawford famously called the film a 'dud' in later years, though she admitted her own performance was 'okay.'
- The film features a lavish fashion show sequence showcasing the designs of Adrian, which was a major draw for female audiences of the time.
- Hedda Hopper, who later became a famous and feared Hollywood gossip columnist, appears in the film as Lansing Ross-Weaver.
- The 'treehouse' or bachelor retreat featured in the film was an elaborate Art Deco set designed by the legendary Cedric Gibbons.
- Future star Ann Dvorak appears in an uncredited role as a party guest.
- The film's title is considered ironic, as the characters' lives are often gritty and far from the 'blushing' innocence the title suggests.
What Critics Said
At the time of its release, critics were generally positive about Crawford's performance, with the New York Times praising her 'humorous and intelligent acting.' However, some critics found the plot to be formulaic and the dialogue occasionally dull. Modern critics often view the film as a fascinating 'curio' of the Pre-Code era, noting its stilted early-talkie pacing but appreciating its visual style and the chemistry between Crawford and Robert Montgomery.
What Audiences Thought
The film was a significant commercial success, earning over $1.2 million at the box office against a modest budget. Audiences, particularly women, were drawn to the glamorous fashion sequences and the relatable plight of the three roommates. It solidified Crawford's position as one of MGM's top box-office draws.
Film Connections
Influenced By
- The Greeks Had a Word for Them (play by Zoë Akins)
- Our Dancing Daughters (1928)
- Our Modern Maidens (1929)
This Film Influenced
- The Women (1939)
- How to Marry a Millionaire (1953)
- Stage Door (1937)
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Film Restoration
The film is well-preserved and has been released on DVD as part of the Warner Archive Collection and the 'Forbidden Hollywood' series.