It’s funny how things have changed so much over the years, but at the same time, human beings seem to have changed so little. Single men complain about women, while single women complain about men just as much. . . something discussed quite frequently in the romantic dramedy Three Wise Girls (1932), directed by William Beaudine and based upon Wilson Collison’s novel “Blonde Baby”.
Cassie Barnes (Jean Harlow) is a small town soda jerk. . . and with her shapely body and platinum blonde locks, she attracts all the wrong kinds of men. Having had enough of the lecherous men back home, she makes the move to New York City, quickly finding work (and a whole new crop of creeps) while working the ice cream and soft drink game.
Yet, unlike other times, she is rescued by valorous drunk Jerry Dexter (Walter Byron), who offers her a drive home. Taking the ride – but rather frequently shunning his sottish advances (after all, she must be exhausted from all the unwanted attention). . . she later complains the night away to her sensible but sadly always single roommate, Dot (Marie Prevost).
Cassie decides to catch up with old hometown friend Gladys Kane (Mae Clarke – her followup film to the 1931 massive horror hit Frankenstein), who has had more success than the other ladies. . . holding down a swanky modeling gig at a posh lingerie shop while also ensnaring the eye of wealthy married playboy Arthur Phelps (Jameson Thomas) – finding herself looked after in a swanky abode (making her his mistress). Soon, Cassie will discover that she is in a similar situation. . . as the pursuant goo-goo eyed Jerry is also already off the market.
Leading to a number of topical questions, like: ‘Are these women choosing the right sort of men?”; ‘Can these already taken wealthy men be trusted?’; and, ‘Where are all the good single men out there?’, one thing is for sure, all three of these wise girls are in for many a complication during the film’s brisk one hour and eight minute runtime.
Perhaps a bit less risque compared to many of the Pre-Code films of the time, the edgiest this one gets are some lingerie shots and the extramarital affair. . . which would have been a big no-no when the Hays Code would come into effect a couple years later. In fact, Harlow is the somewhat rare good girl here, unlike many of her other films, like Red-Headed Woman released the same year (reviewed on Filmizon.com back in 2018) – where she constantly attempts to seduce a married man. Harlow easily slips into this less common skin, placed in the ever more complicated situation as Jerry’s wife, Ruth (Natalie Moorhead), starts to snoop around the lingerie shop where Gladys got Cassie a modeling job. Her cold feet grow even more frigid when Gladys’ relationship slowly sullies.
A simple and mostly effective story, Three Wise Girls never gets to the Pre-Code eras raunchy best, instead better remembered for being solid vehicles for Harlow and Clarke. . . though it might seem like Clarke gets the scene stealing role, this provided proof that Harlow could lead a picture – the first time she was top billed in her career. It also makes us wonder whether things really do change in the hunt for relationships, as you could very easily update this narrative into the modern age – a story that would likely ask the same questions today. So, discover if this soda jerk turned lingerie model will strip bare of her questionable male pursuer, or might he pop the question. . . and can either choice be the cherry on top?