Onlinewsma Absolutely Brilliant!

SpunkySelfTwitter It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

lugonian RECKLESS (Metro-Goldwyn-Mayer, 1935), directed by Victor Fleming, is an odd little title for a movie classified as a musical for that there's no reckless driving involved nor reckless living to classify its story. It is, however, a title tune for a production number delivered by the studio's platinum blonde bombshell, Jean Harlow (1911-1937). For Harlow starring in a backstage story where she gets to "sing" and dance, one would expect a sort of "gold digger" theme involving three sassy Broadway show girls (possibly Harlow, Una Merkel and Patsy Kelly) out to nab some rich husbands. Instead, RECKLESS is very much Harlow's as the center of attention for a scripted story by Oliver Jeffries supposedly based loosely on the life and incidents of an actual entertainer named Lilly Holman.Set on Broadway in the Great White Way, Ned Riley (William Powell), is introduced as a sports promoter staying at the 43rd Street Hotel with his assistants, Blossom (Nat Pendleton) and Smiley (Ted Healy). His sleep is interrupted by the arrival of Granny (May Robson) coming to Ned to have him raise bail for her granddaughter, stage star Mona Leslie (Jean Harlow), who's being held on a reckless driving charge at the House of Detention for Women. Ned, being Mona's agent and discoverer, arranges her release in time for the upcoming charity benefit, only to discover the stage show arranged by millionaire playboy, Bob Morrison Jr. (Franchot Tone), who has bought every seat in the theater so he could be the only one to watch Mona perform. Later, Mona becomes romantically involved with Bob. They eventually elope, much to the chagrin of Bob's father (Henry Stephenson), having high hopes for his son marrying Josephine Mercer (Rosalind Russell), his childhood sweetheart. Though Josephine comes to like Mona, the rest of Bob's family and friends prove otherwise, making her feel like an outsider. After Josephine marries Ralph Watson (Leon Ames, billed as Leon Waycoff), Bob realizes the error in his ways, leading to tragedy involving Mona's custody battle over her baby and attempt of a theatrical comeback to a very unruly audience.In the listing of players credited (in order of appearance rather than the standard billing), there's Mickey Rooney as Eddie, a little boy briefly seen in two scenes with William Powell; Robert Light (Paul Mercer, Josephine's brother); James Ellison (Dale Eberly); Charles Middleton, Harold Huber and Charles C. Wilson. There's also famous wrestlers of the day, Man Mountain Dean, Hans Steinke and Ernie Hayes, appearing as themselves. Look quickly for Allan Jones (singer) and Margaret Dumont (woman in audience), best known for their major supporting performances opposite the Marx Brothers in A NIGHT AT THE OPERA (MGM, 1935) each taking time away from that comedy classic in cameo appearances. Songs featured in this production include: "Reckless" (by Jerome Kern and Oscar Hammerstein/ Ensemble: Jean Harlow, Allan Jones, Carl Randall and Nina Mae McKinney); "Everything's Been Done Before" (sung by Allan Jones); "Cyclone" (dance number); "Here's What My Heart is Saying" and "Reckless." Though Harlow sings, her vocalization is obviously dubbed with choreography lavish scale but forgettable. Interestingly, the "Reckless" number was selected in part of its musical segment profiled for the documentary on MGM musicals titled THAT'S ENTERTAINMENT (1974).The problem about RECKLESS, clocked at 97 minutes and produced by David O. Selznick, is that it could have been a really fine musical, even better. Rather than presenting a full comedy with standard singing and dancing, the plot generally looks more like a setback to those melodramatic overtones found in those early talkie MGM musicals (1929-30). RECKLESS does have its share of amusements and wisecracks commonly found in thirties movies, however, with William Powell doing his share with Harlow and the rest of the cast. Powell and Harlow had much better luck in the hilarious comedy, LIBELED LADY (1936), but it's only during the latter portion of RECKLESS does the story weaken to conclusion that doesn't ring true. Harlow and Franchot Tone have worked amusingly well together in both BOMBSHELL (1933) and THE GIRL FROM MISSOURI (1934), but with RECKLESS having their serious moments together, especially during Tone's drunken tantrums, they are either satisfactory or a bit unpleasant. Rosalind Russell is a refreshing presence here while the rest of the cast tries hard to rise above this so-so script.Considering mixed reactions then and now, RECKLESS wouldn't be classified as Hollywood's greatest musicals. It's somewhat all-star cast and MGM gloss does save it from being lost and forgotten to classic film historians, especially over the years with its presentations in revival movie houses in New York City as Museum of Modern Art (1980 to a full house) or the Regency Theater in the seventies and eighties, followed by availability on video cassette (1995), DVD and broadcasts on cable television's Turner Classic Movies since 1994. (**)

LIND77777-1 This starts off as an innocuous pleasure. Harlow & Powell both sparkle, the musical numbers are enjoyable, and "Granny" is delightfully comic. Some of the other supporting players are also excellent, including a really young Rosalind Russell. You'll also see Mickey Rooney when he was just a kid actor--no shtick.Was this movie written by a committee? Suddenly with a thud, or, you might say, a bang, the movies crashes into melodrama-land. I've never seen such a jarring shift, and totally unbelievable. You feel you've been totally had, and the slight compensations the movie offers are just not worth it. Don't just pass on this movie--boycott it.

we2 Laughs, cheers and tearsThis 1936 MGM production has much going for it. Again Harlow rules. Harlow’s performance featuring her unparalleled comedic timing, dancing, and most of all pathos sets the pace for excellent support from the ever smooth Bill Powell. This winner was directed by Victor Fleming (Wizard of Oz, Gone With The Wind etc), and written by David O Selznick (Portrait of Jenny, Duel in the Sun etc). A very young 15 year old Mickey Rooney has an unbilled 2 walk-ons and shows what will come as he progresses up his ladder to stardom. Supporting these are a glib Nat Pendleton, and Ted Healy as Powell’s pals. Healy by the way gave a start to the 3 Stooges in his vaudeville act. But that’s another story. Allan Jones has a singing number here. MGM thought well enough of him to give him a staring roll to Irene Dunne in the following years great production of Show Boat, another must see extravaganza. This film is not a comedy though it starts out as one. Developing quickly into a drama, and eventually a tragedy. Reckless is lavish and is not to be missed. Bring some Kleenex. Again Harlow rules.

blanche-2 William Powell, Jean Harlow, and May Robson are absolute delights in "Reckless," a movie which starts out on the light side and then suddenly turns into a drama, continues down the drama road and ends at melodrama, '30s style. Powell and Harlow have wonderful chemistry. Both were natural, charismatic, and energetic performers. May Robson is a riot as Granny, and her scenes with Powell are gems.Franchot Tone plays a millionaire playboy crazy over Harlow; Powell loves her but doesn't come out and say it. It's a very old formula, but that doesn't matter. The film is interspersed with several musical numbers that aren't particularly inspiring. Harlow's singing is dubbed, and I suspect the actual dancing parts of her dancing were also. Who cares - she just radiated beauty, warmth, and vulnerability in everything she did. The musical sections were apparently thrown in after the film was made.I can't write for anyone else, but I was surprised when the film made its dramatic turn - and without giving anything away, particularly surprised Harlow went for it, until I read that she turned the film down because of it. William Powell convinced her to take the role. By the end of the film, we're in melodrama land. But the two stars pull it off, though it is truly ridiculous.A young Rosalind Russell has a supporting role and essays it beautifully. It's not a great movie, but the people in it surely are.