Hot Saturday (1932)

 "...describes the evolution of an idle bit of gossip in an average American community with considerable freshness and candor..."

With Nancy Carroll and Edward Woods.

Hot Saturday - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"Small-town tongues are wagging and small-town eyes are watching that Brock girl from behind the drawn shades.  Hot Saturday, which is from Harvey Ferguson's novel, describes the evolution of an idle bit of gossip in an average American community with considerable freshness and candor, and in the main manages to survive a meandering script and some uneventful writing.  Nancy Carroll, as the girl caught in the net of malicious gossip, gives a lifelike portrayal; and she is acutely touching in the final episodes as she searches frantically for someone who will understand and believe her.  The denouement is unintentionally ambiguous, and a rather startling conclusion at that; for the girl runs of with the notorious libertine to a marriage in New York which, if one is to believe all the things people say about Romer Sheffield, will be merely theoretical.   

The title suggests the social activities of the young people on their day off, the dancing, cheap liquor and furtive amour with which they escape once a week from their routine labors.  Some may raise the criticism that the behavior in Hot Saturday is more typical of the years the novel appeared - than of the present.  

Ruth Brock, on this particular "hot Saturday", accompanies the crowd to Sheffield's place in the country.  Her young man, resenting Sheffield's attentions to the girl, quarrels with her.  When she is left alone in the millionaire's house for a few hours and arrives home in his car, the gossip-mongers go to work with a relish.  The accumulation of outraged virtues results in Ruth's dismissal from the bank and a violent scene at home.  Even her gentle, understanding sweetheart of school days turns against her.  

Edward Woods, as the malicious and resentful escort, gives the most satisfactory performance in support of Miss Carroll.  Cary Grant is a nonchalant young libertine as Sheffield, and Randolph Scott is solidly virtuous as the boyhood sweetheart.

 - Mordaunt Hall, The New York Times

New Artwork by Rebekah Hawley at Studio36 -
Number 6 - Hot Saturday (Lobby Card Style)

Part Of

For more, see also:

Quote From Today - 28 October 2022

On This Day - 28 October 2021

On This Day - 28 October 2020

Quote From Today... Hot Saturday (1932)

"Yes, but the moment you go to get them, burglar alarms start ringing all over town."

With Nancy Carroll.

Hot Saturday was Cary Grant's 6th full length feature film.

Romer Sheffield: Would it interest you to know that I've wanted you ever since I first saw you in the bank?

Ruth Brock: You're supposed to see things you want in banks.

Romer Sheffield: Yes, but the moment you go to get them, burglar alarms start ringing all over town.

On This Day...Hot Saturday (1932)

 Cary Grant's 6th full length feature was Hot Saturday, and was released on this day back in 1932.

Synopsis:

Bank employee Ruth Brock has a reputation around town for being fast-and-easy but none of the panting suitors has made her yet. She disillusions them one after the other, but the last lad is a bad sport and starts a gossip scandal, among the hens and roosters, about her and a millionaire playboy and Ruth loses her job. Figuring that as long as she has the name, she might as well play the game, she looks him up.

Cary Grant plays Romer Sheffield, seen here with Nancy Carroll.

"Edward Woods, as the malicious and resentful escort, gives the most satisfactory performance in support of Miss Carroll. Cary Grant is a nonchalant young libertine as Sheffield, and Randolph Scott is solidly virtuous as the boyfriend sweetheart." - Mordaunt Hall, The New York Times.

With Nancy Carroll and Edward Woods.

With Nancy Carroll and Randolph Scott.

Did You Know?

This was Cary Grant's first film as a leading man.

Cast:

 Cary Grant ... Romer Sheffield

 Nancy Carroll ... Ruth Brock
 Randolph Scott ... Bill Fadden
 Edward Woods ... Conny Billop
 Lilian Bond ... Eva Randolph (as Lillian Bond)
 William Collier Sr. ... Mr. Brock
 Jane Darwell ... Mrs. Brock
 Stanley Smith ... Joe
 Rita La Roy ... Camille
 Rose Coghlan ... Annie Brock
 Oscar Apfel ... Mr. Randolph
Jessie Arnold ... Aunt Minnie
 Grady Sutton ... Archie

With Nancy Carroll

Lobby Cards:

Directed by William A. Seiter.

Produced and distributed by Paramount Publix.

Running time: 73 minutes.

Behind the scenes.

Cary Grant and the Pre-Code Era

Between the widespread adoption of sound, in films, from 1929 to the mid 1930's enforcement of the Motion Picture Production Code (Hays Code), a Pre-Code period existed.

Although the Hays Code was adopted in 1930, it wasn't enforced until July 1st, 1934.

Before that date film content was regulated between the Studio Relations Committee(SRC), local law and popular opinion. Needless to say, much of the guidelines were ignored by film makers in Hollywood.

What was the Hays Code?

A Hollywood board was set up, and led by Will Hays and Joseph Breen with other prominent members of the Catholic community.

It put together a list of guidelines for film production based on "The Don'ts and Be Carefuls", with became known as the Hays Code.

These were to be voluntarily applied as a form of censorship to avoid the setting up of a censorship board by the federal government.

It was formulated in 1929, presented in 1930 and rigidly enforced from 1934. It was in force until 1965, finally replaced by an age-based system, that is still used today.

The Code was divided into two parts:

• General Principles 
• Particular Applications

General Principles:

1. Prohibited a movie from "lowering the moral standards of those who see it"
2. Called for depictions of the correct "standards of life"
3. Forbade a movie from showing any sort of ridicule towards the law or "creating sympathy for its violation".

Particular Applications was a list of items which could not be depicted in a movie. Headings on such items included; Crimes against the Law, Sex, Vulgarity, Obscenity, Profanity, Costumes, Dances, Religion, Locations, National Feelings and Repellent Subjects.

Examples of the Hays Code Application:

• The Hays Code required that women, in love scenes, at all time have "at least one foot on the floor".
• People could not be in a horizontal position if they were kissing.
• Betty Boop had to be "cleaned up". Her skirts lengthened to the knee, and necklines of her dress were raised, so as not to cause offence. Winking and shaking hips were deemed to be "suggestive of immorality". The clean up effectively ruined her on-screen career.
• Gone With the Wind producer, David O. Selznick had to convince Hays and Breen, that the line "Frankly, my dear, I don't give a damn" was not prejudicial to public morals, under the profanity guidelines.

Cary Grant Films:

Cary Grant appeared in 15 films during this unenforced period of 1929 to 1934.

They were (with examples of what would have been code infractions, if they had been enforced):

This Is the Night (1932)

Sinners in the Sun (1932)

Merrily We Go to Hell (1932)

The title alone shows that it is  pre-code. Also contains infidelity and includes a female as and editor of a newspaper!

Devil and the Deep (1932)

Blonde Venus (1932)

Pre-code contents include women skinny dipping in flesh colored underwear, suggestive dialogue, suggested domestic violence, prostitution, songs including "Hot Voodoo" and "You Little So-and-So", and more including Marlene Dietrich's performance.

Hot Saturday (1932)

Suggestive dialogue, suggested potential rape scene, removal of underwear, view of legs and suggestive grabbing of a females chest.

Madame Butterfly (1932)

She Done Him Wrong (1933)

Portrayal of alcohol and a drunken cop, robbery, murder, counterfeiting, violence, white slavery and Mae West...and a discreetly covered picture.

The Woman Accused (1933)

Murder, decadence, innuendo, suggestive dialogue.

The Eagle and the Hawk (1933)

Violence and combat scenes. Suggestive dialogue.

Gambling Ship (1933)

I'm No Angel (1933)

Suggestive dancing and dialogue. Costumes are provocative, multiple spouses and Mae West again!

Alice in Wonderland (1933)

Thirty Day Princess (1934)

Corruption.

Born to Be Bad (1934)

Suggestive images, single motherhood, child abuse, cheating and infidelity.