Actor/Director Lowell Sherman woos Ina Claire. Image: IMDb

Well, we’d never thought we’d say this, but here we are all the same:

There’s such a thing as too much Ina Claire.

We saw this normally fab actress in the pre-code comedy, Three Broadway Girls (1932), where she plays a woman anxious to marry a Very Rich man – she’ll Do or Die Trying. Hers is the guerilla warfare approach to matrimony.

Now we can’t be too hard on Ms Claire because her character in this film is Larger Than Life. Male Entrapment is her raison d’être and, as a result, she’s funny, but brash to excess.

Plus, director Lowell Sherman stars in the film, too, and we wonder if maybe he was so bamboozled by Claire’s overpowering performance, he forgot to direct her. (We’re not saying people can’t direct and act in the same film, but here it feels rather uneven.)

Anyhoo, this film, which served, in part, as inspiration for the comedy, How to Marry a Millionaire (1953), isn’t just Ina Claire trying to marry wealth. It’s about three friends trying to entrap men in the high-octane world of the 1920s.

Joan Blondell at the beauty parlor. Image: Alamy

Even though this film has an out-of-control Ina Claire, and a criminally-underused Joan Blondell, it does have a lot of funny lines. For example, a speakeasy announces it will be closing at 2:00 am, and one of the woman quips, “A speakeasy that closes at two o’clock is practically a tea room!”

We also loved this gem: “You can tell an awful lot about the liquor you drank the night before, by where you find your hat the next morning.”

The clothes are fabulous, too. Thirty outfits were designed by Coco Chanel, which was a rare occurrence because she designed costumes for only three Hollywood films.

The most interesting thing about Three Broadway Girls, we think, besides the 1920s atmosphere, is the friendship of the three women. They are the Best of Friends, which gives them plenty of ammo when they become Enemies.

Madge Evans stars as one of the three, a down-to-earth woman who pokes holes in Claire’s nonsense, while kindhearted Blondell is relegated to referee. “How did I end up organizing the two of you?” she asks in exasperation.

They fight and double-cross, but always forgive, because their friendship is paramount. Men may come and go, but these three will Stick to the End.

I’m always pleased to meet the rich. Image: en.notrecinema.com

Three Broadway Girls was initially released as The Greeks Had a Word for Them, which was based on the 1930 Broadway play, The Greeks Had a Word for It, by American playwright and novelist Zoe Akins.

The original play, which ran for 253 performances, proved troublesome for Hollywood or, rather, the Hays Office in particular, which frantically tried to keep a lid on scurrilous activities in the movies. Since the play was about three, uh, courtesans, the studio had to tone down the language and the women’s enterprises.

Curiously, the three leading characters are not actresses, although they say they “tried” Broadway at some point. Because we never see them at work, or even referring to a job, we can assume (A) the acting experience was a Flop, and (B) they now use men to stay Afloat Financially.

Three Broadway Girls is a worthwhile flick, because it’s a madcap dash through a distant time. We hope you’re able to track down a copy, but – alas! – this film is in the Public Domain, and we all know what happens Then.

This is a contribution to The Sixth BROADWAY BOUND Blogathon hosted by Taking Up Room.

Three Broadway Girls: starring Joan Blondell, Madge Evans, Ina Claire. Directed by Lowell Sherman. Written by Zoe Akins & Sidney Howard. The Samuel Goldwyn Company, 1932, B&W, 79 mins.

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