Like Baby Face of the following year, this is a story of a woman using sex to advance in the world, though I’m given to understand from what I’ve read that the MGM house style (as opposed to Warner Brothers’) preferred to downplay the role of social class. Here, then, we have Jean Harlow as a young secretary looking to do better, who latches onto her wealthy boss Bill (Chester Morris), splitting him from his wife before setting her sights on the even richer tycoon Charles (Henry Stephenson). What’s particularly delightful here is that Harlow keeps the viewer on her side, and the screenplay by Anita Loos allows itself to set aside her questionable morals as she pursues her goals of wealth and happiness, never really punishing her as we might expect. That’s perhaps because Jean Harlow makes for such a transfixing presence in the title character of Lil, whose capricious whims are leavened by a streak of aggressively optimistic single-mindedness in her flirting, exemplified by her pinning a photo of her boss to her stockings when seducing him near the film’s outset. By the time she arrives in Paris near the end, she maintains her lavish lifestyle in pursuit of wealthy marks while retaining the services of her chauffeur boyfriend, Albert (Charles Boyer). Certainly not a boring film, then.
Director Jack Conway; Writer Anita Loos (based on the novel by Katherine Brush); Cinematographer Harold Rosson; Starring Jean Harlow, Chester Morris, Henry Stephenson, Charles Boyer; Length 79 minutes.
Seen at BFI Southbank (NFT1), London, Thursday 15 May 2014.