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Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Heiress fins in the 30's are most always interesting and entertaining. The message is the same: rich bsd, poor good. He, it works. Bette Davis was a versatile actress who could pull off anything. George Brent made a good partner. 1929-1939 produced the most enjoyable films over other decades. It's pathetic that TCM feels the need to apologize for non PC movies. Soon, movies that display human nature accurately may be banned. Enjoy them while you can. This is a fun one.

Bette Davis said of this film: "I was...insulted to have to appear in such a cheap, nothing story..." Take her word for it. Bette Davis gets my vote as the greatest American actress, but not because of films like this. When watching it, I didn't know what year it was produced; I would have guessed very early 1930s, because the film is typical of the shallow scripts so common before...well...let's say 1933.The plot is so shallow a tick couldn't drown it. Bette is hired to be an heiress to a corporation that uses her for publicity; in reality, she's just a small town girl. She chaffs at the role she is playing, and falls for a reporter (George Brent), quickly marries him...for all the wrong reasons. The marriage is a sham, which Brent intends to get out of at the earliest possible moment. But, they end up falling in love...which conquers all. Yawn.Bette Davis does show some spunk here, so it's not a total waste. Brent is quite good. It's not the acting...it's the story line that is the problem. The supporting actors are pretty much wasted.About the only reason to watch this film is if you're a tremendous fan of Davis'.

Twenty-eight-year-old Bette Davis had been making films for five years, quickly working up to lead, and pretty much the same for George Brent. They would appear in about TWELVE films together in the 1930s and 1940s. Rich girl Daisy (Davis) meets reporter Johnny (Brent), in a case of mistaken identity. At first, she is angry at him, but they quickly hit it off. Eugene Palette is in here too, with his deep, booming voice. Some interesting bits about Palette's life, if you have the time to read it. The story here has ups, downs, around the mulberry bush, as they used to say. Rawtha a silly plot, but easy to watch, and its only 68 minutes long. One odd bit of timing... at one point, Daisy yells "If you don't stick to our agreement, I'll break my contract", and soon after filming "Arrow", Davis DID walk out on her contract. Showing on Turner Classic now and then. Directed by Alfred Green, who had directed some of the biggies in the business, starting in the days of the silents. Story by Michael Arlen, who had created the character "The Falcon", in all those films in the 1940s.

In an era when Barbara Stanwyck, Katharine Hepburn, Claudette Colbert, Joan Bennett, Constance Bennett, Joan Crawford, Jean Harlow and Carole Lombard were all making an effort to show the screwy rich girl trying to deal with wacky families, gold digging men and boggling business careers with relationships, the new big star on the block, Bette Davis, decided to join them. Fresh from her Oscar Winning role in "Dangerous", Davis had not yet set the box office world on its ear, although that was imminent. Warner Brothers, not sure yet how to handle the rising temperamental diva to be, tried her in a variety of types of films, and for a few of those, she went down "Screwball Lane" to show how those popped-eyed gestures could add oomph to witty wisecracks and wacky situations.Here, she's an heiress surrounded by typical social-climbing men and to get around them, she convinces a struggling reporter (George Brent) to marry her for convenience. She already has a fiancée, it seems, but he's too droll and effete to take seriously. Brent's the type who isn't above using a little manly force to keep his women in line, and while he agrees to the charade, he's not about to let her control him. She, it seems too, isn't above a little slumming, and in one of the film's most memorable scenes, ends up with him on a twirling ferris wheel. Later, there's confusion concerning black eyes which each of them get (memorably utilized on one of the film's posters), and it is obvious that this cave man stuff is exactly what she needs to bring her even slightly down to earth.While Davis is of course best known for drama, she had been tried out by Warners in comedy before, mostly supporting parts, and here, she is a game girl in a genre she would infrequently try again with sometimes mixed results. George Brent, who co-starred with most of the actresses I mention above (and frequently with Davis during their long stays at Warners), is as comfortable in this type of role as he would be in their romantic dramas, and it is the two stars who make this film worth watching. The rest of the cast (including major character star Eugene Palette) is pretty much wasted although they get brief moments to shine.