Should a Girl Marry?

Plot

Dr. Larry Wilson and his wife Helen are living a happy life until their world is shattered by a blackmailer who discovers Helen was born in prison while her mother was serving time. The blackmailer demands money to keep this secret from destroying Larry's medical practice and their social standing. As the threats escalate and the couple's marriage is tested, Helen must confront her past while Larry struggles with the revelation about his wife's origins. The situation becomes increasingly dangerous when the blackmailer's demands grow more aggressive, leading to a confrontation that could either destroy their marriage or strengthen their bond through adversity. In the end, the couple must decide whether love can overcome the stigma of birth and the judgment of society.

Historical Background

Released in early 1939, 'Should a Girl Marry?' emerged during Hollywood's Golden Age but on the B-movie circuit. This was the same year as blockbuster releases like 'Gone with the Wind' and 'The Wizard of Oz,' highlighting the vast disparity between A and B pictures. The film's themes of social stigma and redemption resonated with Depression-era audiences struggling with economic hardship and social judgment. As Europe moved toward war, American cinema was increasingly addressing darker themes, even in its more modest productions. The film also reflects the transitional period in Hollywood censorship, as the Hays Code was being more strictly enforced, pushing filmmakers to find creative ways to address controversial subjects within acceptable boundaries.

Making Of

The production was rushed through Columbia's schedule as part of their efficient B-movie assembly line. Lambert Hillyer, a veteran director of programmers, brought the film in on time and under budget. The casting of Mayo Methot was particularly notable given her personal troubles at the time - her marriage to Humphrey Bogart was deteriorating, and her drinking problems were beginning to affect her work. Despite these challenges, she delivered a convincing performance as the blackmailer. The film's subject matter of a child born in prison was handled carefully to satisfy the Hays Code while still maintaining dramatic tension. The studio sets were reused from other Columbia productions, a common cost-saving measure for B-movies of the era.

Visual Style

The cinematography by Franz Planer was straightforward and functional, typical of B-movie productions. The lighting followed standard three-point lighting techniques to ensure clarity and visibility. Camera work was mostly static with basic coverage, using standard medium shots and close-ups. The visual style prioritized clarity and efficiency over artistic innovation, serving the story without drawing attention to itself. Some use of shadow and contrast in the blackmail scenes added appropriate tension to those sequences.

Music

The film featured a typical score for a Columbia B-picture, likely composed by studio contract musicians. The music served to underscore emotional moments and build tension during the blackmail sequences. No original songs were featured, and the soundtrack relied on stock musical cues that Columbia maintained in its library. The sound design was basic, focusing on clear dialogue recording which was essential for the plot-heavy narrative.

Memorable Scenes

• The tense confrontation scene where the blackmailer first reveals Helen's secret to her husband, testing their marriage foundation
• The emotional hospital scene where Dr. Wilson must choose between his reputation and his wife
• The final confrontation where the couple stands together against their blackmailer

What Critics Said

Contemporary reviews were generally muted, as B-movies typically received little critical attention. Variety noted it as 'adequate programmer material' with 'competent performances from the leads.' The New York Times did not review the film, as was common for Columbia's B productions. Modern reassessments are virtually nonexistent due to the film's obscurity, though film historians studying Columbia's B-unit or Lambert Hillyer's work occasionally reference it as an example of the era's typical programmer fare.

What Audiences Thought

As a B-movie, 'Should a Girl Marry?' likely satisfied its intended audience as part of a double bill. The film's melodramatic elements and timely themes would have provided appropriate entertainment for the time. No significant box office records were kept for such productions, but the fact that Columbia continued to produce similar films suggests they were profitable enough. The film's subject matter may have generated some discussion among audiences dealing with similar social prejudices in their own communities.

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