Michael Morrison
In the city where this movie was made, where Columbia Pictures studio stood, where across the years probably millions of people have sought their dreams, in this year of A.D. 2018, anywhere from 40- to 60,000 people, men and women and children, are homeless.Because it is Los Angeles, one of the most corrupt and incompetently run cities in these United States, the homeless are both coddled and harassed by various government bodies.But genuine long-lasting help? Not in Los Angeles! One not so famous singer, with his own hands started building "tiny houses," giving them to homeless people of his acquaintance, and of course the city moved in garbage trucks and armed agents and stole at least three of them!Eventually they were returned, but with the solar cells missing!Private individuals and companies have donated land on which to erect the tiny homes and, again of course, have run into all kinds of bureaucratic obstacles. It is, to repeat, Los Angeles."Girls of the Road" was produced in one of the worst years of the Depression. After several years of the "New Deal," millions more people were out of work, tens of thousands more businesses had collapsed, and the Roosevelt administration, which had sought for answers in Italy, Germany, and Soviet Russia, had concluded only a war could save the situation. And, in the next year, got one.In this excellent movie, beautifully written, and superbly acted, desperate people exhibit the best and worst traits one would expect from people who have experienced the worst from other people.They have lost all dignity, and have had to beg for hand-outs since, being "road girls," no one will hire them for real jobs.One outsider sees a way, and, in this film, is well-enough connected to bring about a partial, and maybe temporary, solution.In modern life, governments have destroyed jobs and erected impossible obstacles for the creation of new jobs.Supposedly free human beings are required to carry government-issued cards embossed with government-issued numbers, without which those supposedly free human beings cannot even apply for jobs.And in many situations cannot even apply for hand-outs from allegedly Christian agencies.Helen Mack has long been one of my favorite actresses. Her performance in "The Milky Way" made me think she was perfect in comedy parts, but her performance in "Girls of the Road" showed me she is perfect in any role she wanted to play. She is powerful, mesmerizing, as "Mickey."Ann Dvorak is, as usual, also perfect. She was an elegant-looking lady, although she's also been perfect as much rougher characters, and she had a nearly musical voice, very noticeable in this role.Having some experience and knowledge of the current problems of homelessness, I was moved to tears by this movie, by the script as well as by the performances.Solutions to our problems are not be found in government -- please be sure to listen to what "the governor" says in the opening scenes. It accurately sums up why governments are not to be looked to for answers.Voluntary co-operation between and among individual human beings, caring human beings, perhaps working with voluntary organizations, including such loving and generous agencies as the Salvation Army, can, though, immensely lessen these kinds of human problems, sometimes known as "societal problems." But they are not "societal." They are human.Please do watch "Girls of the Road." Remember the context, the worst years of the Great Depression, and try not to let the too-dark print at YouTube prevent your seeing what great drama and, at the same time, what a great message of hope is presented.
bkoganbing
Girls Of The Road finds Ann Dvorak as the daughter of the governor of some unnamed state going on the road incognito to get a look at conditions for women who are homeless. Dvorak takes an interest in her father's work and Governor Howard Hickman has just received a confidential investigative report about conditions for women in that situation. What Dvorak does, almost on impulse, is to hit the road herself and see first hand.She falls in with Helen Mack and in turn with others, in the end in a sort of makeshift camp that's run by tough girl Lola Lane. Dvorak sees the problems the women have, the varied situations they come from that have led them to this vagabond existence.Not the least of the problem is that the male of species is looked upon as a predator in many situations shown here. The unspoken lesbianism of the women is also quite clear, especially in Lola Lane's character.There is one death among the women in the film and I won't say which of the characters dies, but the scene is quite moving. I think if you see the film you'll be able to pick out which character it is.The obvious comparisons to make with this is with Warner Brothers Wild Boys Of The Road made seven years earlier. This one doesn't quite have the productions values that the Warner Brothers product did. This was strictly a product of Columbia's B picture unit and this kind of socially significant film had been passé for some time in Hollywood.Still Girls Of The Road does have its merits and is a most curious product of the times.
marcslope
You have the tough-talking dames, the innocent-victim girl, the crusading do-gooder, all on the Depression road, but indulging in personality dynamics much like those in "Caged." Columbia pretends that this is social commentary a la "Wild Boys of the Road," but it's untethered melodrama, wildly improbable and directed without distinction. Especially unconvincing is the framing device, where a governor's daughter (Ann Dvorak, always good, but playing such a virtuous character here that she has a hard time making her interesting) decides to impersonate a poor homeless girl, then at the end it turns out the state had the money to help these girls all the time, but the governor needed to be convinced that they really needed help. Still, it's nice pictorially, and Helen Mack, as Dvorak's sidekick (she was also terrific that year in "His Girl Friday"), is a great sarcastic broad.
xerses13
...the major studio you work for does not want you anymore. Just like today back in the 'Golden Age of Hollywood' the shelf life of female Stars was noticeably shorter then their male counterparts. Three (3) of the Stars of GIRLS OF THE ROAD (1940) are more noted for their roles at their home studios. ANN DVORAK and LOLA LANE at Warner Brothers (WB) and HELEN MACK, RKO. When a studio was done with you it was fade away or find work somewhere else. That somewhere this time was at COLUMBIA.GIRLS OF THE ROAD is a social commentary picture typical of the time and usually done most successfully at the WB. This effort from COLUMBIA though dated is still entertaining portraying the plight of vagrant women. A Governors Daughter played by DVORAK wishes first hand to find out how to solve the plight of these girls. The bulk of her odyssey is a learning experience and building a friendship with MACK. Concluding with the moral redemption of all including tough girl LANE.There were five (5) major studios. M.G.M., PARAMOUNT, RKO, 20TH CENTURY FOX and WARNER BROTHERS. Plus some heavy-weight independents like GOLDWYN or SELZNICK. Now you could move horizontally between these studios and still be on top. The next level would be COLUMBIA, HAL ROACH, REPUBLIC, UNIVERSAL and UNITED ARTISTS. This was still respectable the only problem with working at COLUMBIA was putting up with HARRY COHN who fancied himself Don Juan. It could get worse though you might end up at MONOGRAM, PRC or any of the dozens of poverty row studios that came and went. Some not even lasting a year, fading away just like some their careers.
