This breezy pre-code (turning more dramatic towards the end) has Cagney in top form as a cocky conman and Blondell is both feisty and touching as his lovely accomplice. Pre-code proof include sexual innuendos and knowing looks, a lot of skin, and a memorable scene with Blondell scrubbing herself clean in the bathtub while Cagney is looking for money hidden in her bra. There's some serious face slapping and nobody says ho-neeeeey like Cagney does. Love the ending too.
Promising story premise of two people sharing a (pretty cool) attic apartment in 12-hour shifts without seeing each other. (Of course they meet outside the apartment without knowing they're co-tenants and fall in love.) Too bad the execution of the story doesn't live up to its potential. Ginger is not to blame because she's delightful, especially when she's demonstrating her telemarketing skills trying to sell an ice box. And ooh la la ... there's some pre-code loveliness with Ginger undressing…
One of the saddest films I've ever seen. Unique and weird and fascinating. This is my second film by Swedish director Victor Sjöström, and I've come to believe he is a master at visual storytelling and building atmosphere. Beautiful imagery, surreal and eerie at times, and the ending is incredible (no sugarcoating here). Chaney's performance is powerful and heart-wrenching, and Norma Shearer looks like a little white angel amidst so much darkness. Apparently there are three versions of this silent…
"Psychologically, I'm very confused... But personally, I don't feel bad at all."
Giving this half a * more because this is (close to) perfection, -- maybe the only issue I have is with Pepi whom I find just a bit annoying --, and all scenes with Jimmy Stewart and Margaret Sullavan together are pure cinematic gold. No doubt my favourite Lubitsch. (But still have a lot to see. What's your favourite Lubitsch?)