Three Girls About Town (1941)

Thanks for the memories!

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

One of the worst ways to make a cult movie is to set out to make a cult movie.

There's a lot going on at the Merchant's hotel. A magician's convention is just breaking up, while a mortician's convention is about to get started. In addition, a mediation between aircraft manufacturers and workers will soon take place. There is no obvious connection between these 3 groups in the beginning, but each will have some relevance to the central plot of a body being discovered in one of the guest rooms, and the hotel personnel trying to hush up the incident, fearing it will harm the hotel's reputation. To accomplish this, the body is moved around from place to place, trying to keep the police from finding it. This is sometimes accomplished by 2 hostess sisters(Hope and Faith Banner, played by Joan Blondell and Binnie Barnes)or by the hotel manager Puddle(Robert Benchley) or by Tommy (John Howard): the hotel's press agent. In addition, there is a bonkers magician(Eric Blore) who hasn't left because he's looking for "Charlie".Frank McGlynn plays the chairman of the morticians convention.. looking appropriately creepy, fitting the Hollywood stereotype of what undertakers should look like.Janet Blair(as Charity) plays the much younger sister of Hope and Faith. She's been going to an all girls private school, financed by Hope. Evidently, she's been man-starved, as she throws herself at most any man, giving Tommy a passionate kiss or two. Hope and Tommy have occasionally talked about marriage, but when Hope catches Charity and Tommy kissing, she assumes Charity has taken her place. Charity says she doesn't want to go back to school; she wants to be a hostess, like Hope and Faith.Robert Benchley plays his usual role as hotel or apartment manager, or a similar type of profession. Unfortunately, he's not as funny as in some films I've seen....I was impressed with John Howard as Tommy.In the incident where the body, abetted by Tommy, is playing poker with several men, the body keeps winning: "He's a lucky stiff" one remarks. But Tommy wants to lose so he has an excuse to leave with the body.I won't tell you how the magician, the morticians and the labor mediation conference further fit into the story. See the film on YouTube to find out how things work out. I rate this film as a lesser screwball comedy, which may be worthwhile for you to check out. The title is misleading, as the action all takes place within or just outside of a hotel.

The director (Leigh Jason) keeps up the madcap pacing, while the scriptwriter comes up with a clever premise (hiding a body during a morticians convention). Then too, add some very capable performers, Blondell, Barnes, the incomparable Robert Benchley, and an extremely winsome Janet Blair. It looks promising, yet, the results are mixed at best, at least in my little book. It seems to me, a key element of screwball or madcap is flustered frustration. The classics—Bringing Up Baby (1939); Murder, He Says (1945), for example—get laughs from comedic exasperation. Petty annoyances keep thwarting a Grant or a MacMurray as they try to accomplish their goals, whether catching a big cat or escaping a deranged family. We laugh at the way everything seems to work against them, in a light-hearted way, of course. But it's that sense of comedic frustration, mounting over time and petty adversity that carries the momentum.Now, there's a rich source of frustration here with getting the body out of the hotel. One problem is that the focus switches back and forth too often among the players, so that the crucial sense of comedic exasperation is dissipated among Blondell, Howard, the cleaning ladies and the police chief. Note that the one scene that really works, the poker-playing skit, keeps the focus on Howard and his mounting frustration in trying to get away. In short, the movie suffers because there's no one person (a Grant or a MacMurray) to identify with as he or she encounters the series of petty plot adversities. Thus, a key element of comedic continuity is lost, as, for example, when the cleaning ladies booze it up, an amusing but unconnected event. Add to that, Howard's limitations as a comedic performer and the really unfortunate casting of an inapt Hugh O'Connell as the police chief. In fact, O'Connell's role turns out to be much bigger than expected and really requires the flustered antics of an expert performer, say, a Donald McBride or a James Burke, familiar cop faces from that era.Anyway, the movie does have its compensations, especially the clever twist ending. I'm just sorry that so many promising elements produce such a generally mild result.

A lot of the screwball comedies leave me wondering what was funny. This one, while not a classic, was very pleasant to watch and had lots of silly chuckles. My favorite scene was the one described by another reviewer, where the reporter and the dead man play poker. Having won the first hand, the other players won't let our hero take his "friend" "Joe" away. Desperate to get away, he tries everything to get his dead friend to lose a hand, but keeps winning.I mostly remember Joan Blondell as Lottie on Here Come the Brides. She was a standout there and I can't help but think if given a chance, maybe in the 50s or early 60s, she could have easily been a huge TV star of a comedy series. I think she was a truly talented actress.

This film is an undiscovered classic comedy. Robert Benchly is the desk clerk of a hotel where a wild magician's convention is breaking up at the same time a somber mortician's convention is starting. Joan Blondell and Binnie Barnes play two hostesses at the hotel who are in hot water with the local moral guardians. To complicate matters even more, their little sister arrives after escaping from a "proper" private school. All she does is wear lingerie and make passes at older men.Joan's boyfriend John Howard is at the hotel covering the negotiations for a labor strike. When the mediator turns up dead, the girls try to spirit the body out of the hotel to avoid bad publicity. This breathless comedy is just fantastic, as the body is continually being moved, either intentionally or unintentionally. The ending of this film is definitely a surprise, but it fits the film perfectly.In one of the best scenes, Howard and his dead "buddy" duck into a poker game just to avoid the police. He wins a hand while the police go by, but the other players won't let him out of the game. Howard does everything he can to lose, but still wins all the hands anyway!