Young Gable at his most potent, Lombard at her loveliest, con-men, romantic cabins by the lake, and plenty of see-through and low cut gowns and dresses. What's not to love? If I have any quibble with this Universal offering, its with the decision not to have chapter stops (there are 18, for those who are counting); otherwise the transfer is just what we've come to expect from Universal (and Warners and Paramount and MGM) and that is, stupendous. The drawing rooms and slicked back men's hairstyles may have changed, but romance hasn't - this is well worth your attention, and Robert Osborne's introduction (the only extra on the disc besides French language or subtitles) is always welcome to shed a little light on the night's enjoyment or to whet our appetite for the film about to unspool.
No Man of Her Own
Time Out saysGable's the boss of a gang of cardsharps, Lombard's the small town librarian who marries him on a bet. Lightly brushing at least three separate genres, this good-natured yarn (from a story by Edmund Goulding and Benjamin Glazer) eschews conflict at every turn. The henchmen are supportive, the rejected girlfriend rallies round, the cop's kind-hearted: the film resolutely refuses to admit a villain. Besides, Ruggles was a famously one-take director who relished spontaneity, e.g. the scene where Gable asks Grapewin for directions. It's also a reminder of how relaxed Hollywood movies were before the enforcement of the Production Code, in their sexual references and in the casual disrobings by their leading ladies.