We're in the Money

We're in the Money is a delightful comedy romp from the Golden Age of Hollywood, released in 1935 with dynamic performances from Joan Blondell, Glenda Farrell, and Hugh Herbert. This pre-code Warner Bros. film is a classic rom-com, showcasing the synergy of a talented ensemble cast, a witty script, and meticulous direction under the helm of Ray Enright - an exemplification of his unique storytelling flair. The film is a bracing blend of comedy, romance, and a just a hint of action wrapped seamlessly to hold the audiences' gaze from start to finish.

The story opens with the introduction of Blondell and Farrell's characters, Ginger Stewart and Dixie Dixon. They are brassy and feisty process servers in bustling New York, always on the run, yet decent at heart and portrayed with a rare tenderness. Both women are constantly seeking to better their circumstances, imbuing the story with a certain optimism that proves irresistible. Blondell's scrappy determination and veneer of toughness juxtaposed with her inner vulnerability exceptionally well portrayed, while Farrell's deadpan humor and unyielding spirit lend a likable charm to the narrative. Their on-screen chemistry radiates through comedic banter and shared tribulations, making for an engaging watch.

Framing the romantic angle of the film is Hugh Herbert who plays Wilbur, a rich playboy who is also, unbeknownst to him, the latest target of Ginger and Dixie. Intricate misunderstandings and mistaken identities lead to a web of interpersonal chaos, each scenario more hilarious than the last. Herbert's delightful performance as the naïve, agreeable, and charmingly bumbler, Wilbur, is the perfect foil to the street-smart Ginger and Dixie. His interactions with the duo weave a tale of romance that is as comedic as it is sweet.

The film transforms the seemingly mundane job of process serving into an exciting, unpredictable, and humor-filled adventure. It cleverly capitalizes on this lesser-known aspect of law enforcement, creating an undercurrent of tension that keeps the plot interesting. The easy-flowing narrative, combined with the film’s quick wit and comedic timing, ensures that there’s never a dull moment.

The story is set against the backdrop of 1930s New York, successfully capturing the charm and grit of the city through the artful use of sets, costumes, and cinematography. The city's busy streets and teeming life almost become a character in themselves, providing the perfect backdrop for the plot's hilarious misadventures and lending an authentic air to the goings-on. The film’s quick pacing and sharp dialogue reflect the bustle and energy of the city.

Additionally, the cleverly written supporting characters add just the right amount of comic relief and absurdity. Among the notable characters are a racketeer, a Rasputin-like preacher, a notorious gangster's moll, among others, each lending their unique flavor to the overarching narrative. Each interaction adds layers to the plot, resulting in a comedy that is as multifaceted as it is funny.

The film also benefits from Brown and Blondell's musical numbers, adding a jazzy verve to the proceedings. The title track, "We're in the Money," is notably catchy and is masterfully used in the film for underlying commentary and to advance the plot.

Director Ray Enright makes superb use of his cast's skills. His direction encapsulates the film's lighthearted spirit while also ensuring the story’s various threads are woven together with expertise. Though the film follows a fairly straightforward framework, Enright elevates the plot through inspired direction, making it much more than a typical romantic comedy.

What sets We're in the Money apart in the 1930s cinema landscape is its portrayal of strong and endearing female leads, bustling big city life, and a comedic veneer masking pertinent social issues at the heart of the story.

In conclusion, We're in the Money is an exuberant, thoroughly enjoyable cinematic journey characterized by astounding performances, witty dialogues, and an inviting storyline that continually keeps the audience on their toes. It is an entertaining watch – a true gem from the 1930s Hollywood library.