Play Girl (1941)

Thanks for the memories!

Nice effects though.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Realizing that her days attracting wealthy suitors are numbered, sophisticated social climber Kay Francis decides to utilize the charms of a 19 year old innocent (Mildred Coles) in order to continue her wealthy lifestyle. She passes Coles off on elderly Nigel Bruce, a man obviously in his 60's who claims to be 39. Bruce showers Coles with furs and jewelry, but at Kay's urging, Coles pretends to make Bruce think she wants to marry him, something he is totally against. This leads to a settlement out of court to avoid a public scandal (something Ms. Francis's character was notorious for) and sends Coles onto Francis's next victim (G.P. Huntley). But Coles has fallen for James Ellison, whom she, Francis and the maid (a hysterical Margaret Hamilton) had earlier encountered while traveling. Ellison turns out to be wealthy himself, a breeder of horses, not the trainer the trio of women had thought he was. Coles suddenly gets a case of a guilt complex when Ellison brings up marriage and disappears. This puts Francis on the pounce to get Ellison for herself, but when Ellison's mama (Katherine Alexander) shows up and is revealed to be near Kay's age, Ms. Francis has an attack of conscience herself.Free from her mistreatment at Warner Brothers, Kay moved onto freelance during the last quarter of her film career. This is an rare enjoyable foray into comedy for the notorious clothes horse who looks "wavishing" (as her wisecracking descentors would say, imitating her charming speech impediment) and gets to utilize some fun wisecracks along the way. Nigel Bruce gets the best material for the men, while the others are overshadowed by the women. However, the best notice I must give goes to that "Wizard of Oz" witch Margaret Hamilton who gets to make a crack about "riding on air" that sounds like a pre-quel to "defying gravity". She has never been so free in films to let loose with her comedic talents, and comes closer to being like Mary Wickes here than her usually sour-pussed gossipy old maids. The scene towards the end between Francis and Alexander is nicely written and has a beautiful pay-off.My biggest gripe comes from the use of the social columns who apparently are on to the foils of the two gold diggers. It seems rather forced to believe that the newspapers would pick up the activities of two non-celebrities who are doin' what comes naturally for single women in pre-war America.

I've never been a huge KAY FRANCIS fan, but at least in PLAY GIRL she gets a better than average script (for a B-film), and an excellent supporting cast that is able to breathe some life into the material. And her character is sensible and mature, not to mention a bit too noble to be believable by the last reel.She's a fashionable gold digger who decides to train a protégé to lure men into the net when her own looks become too mature. This time the prize is JAMES ELLISON, a handsome young cattle rancher who happens to fall hard for her protégé, played winsomely by MILDRED COLE.KANE RICHMOND and NIGEL BRUCE lend valuable support in key roles and the whole story is done with flair and style that makes it pleasant entertainment. On the face of it, it's strictly minor stuff with many soap opera overtones.Only disappointing angle is the resolution of the love affair involving Ellison and Cole with no on screen reunion provided by the script. Instead, he rushes to join the young protégé in Florida while Francis turns her attention to another man. The plot soon becomes a twisted soap opera with Francis nobly giving up the young man in favor of telling him the truth about Cole's whereabouts.Nothing deep here, just a pleasant diversion that passes quickly and is soon forgotten. Good work by a capable cast makes it easy to watch.

Kay Francis is a "Play Girl" in this 1941 film that was yet another attempt by Warner Bros. to get rid of the expensive Francis, though none of their ploys worked. Here, they've lent her to another studio, RKO.Francis plays Grace Herbert, a woman who has lived her life as a gold-digger, except now she's getting too old to dig and no one wants to give her any gold. She meets a young woman, Mildred (Ellen Daley) and teaches her the gold-digging game, with the idea that the young woman will actually get married to someone wealthy, something that Grace never did. But Mildred's conscience takes a hit.One of the best things about this film is that one of the marks is a rich guy from Chicago, played by the very British Nigel Bruce. Just goes to show you the attention paid to the casting.It's not a great film, but Francis makes it more than palatable, and it's a pleasant way to pass the time. Worth seeing for Francis.

This film is definite evidence that the films in the latter portion of Kay Francis' career were pretty ordinary. This film, while competent, is only passable entertainment and certainly won't keep your undivided attention.Kay plays a high-living gold digger. The problem is that she never got married and settled down and now she's broke and her prospects are few. So, on a lark, she finds a young protégé and grooms her to be a gold digger as well--but also to marry and keep a rich guy. The problem is that the young lady has scruples and she just can't bring herself to do this to such a nice guy. So, Kay decides to pull out all the stops and try to get the guy herself--even though she's older than the young man's mother! Oddly, one of the beaus that the protégé has in the film is Nigel Bruce. While his age is fine for the film (after all, she was looking for a "sugar daddy"), saying he was from Chicago made me laugh. After all, Bruce has a very, very English accent and seeing the guy who later played Dr. Watson in the Sherlock Holmes films as an American from Chicago made me laugh.Otherwise, there's not much in this film that seems new or particularly interesting. Even the noble ending seems all too familiar. Watchable, but that's about it.