Private Number (1936)

So much average

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

In truth, there is barely enough story here to make a film.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

The first half of this movie is better than the last, though Peverell Marley's photography is always a joy to look at, and Mark- Lee Kirk's sets (decorated by Thomas Little) are always wonderful to behold! And there's also a fine music score by Louis Silvers! The performances are never less than great, and the direction by Roy Del Ruth is always highly commendable. I would regard this entry as his best film. Of course, he did have a marvelous cast to work with! And it's true that the first half of the movie is more enjoyable than the last, because that's when we're introduced to people like Basil Rathbone's delightfully tyrannical butler; to Patsy Kelly's running interference; and to Joe Lewis and his idea of the perfect first date - and a blind one at that! In the first half, director Del Ruth stages a really wonderful brawl, which he caps by a glorious scene in which the GOODY TWO-SHOES HEROINE IS ARRESTED IN A BROTHEL! (I say again: This movie is a product of the moral clamp-down? Who's kidding who here!)From first to last, Peverell Marley's photography is always a joy to behold. Ditto Mark-Lee Kirk's sets (decorated by Thomas Little). And, joining the fine performances and the highly commendable direction, we must pay tribute to the screenplay concocted by Gene Markey and William Conselman from a story by Cleves Kinkead.

"Common Clay," a play by Cleves Kincaid, opened in August of 1915 on Broadway. It was relatively successful and ran for 316 performances. In 1919 a silent film of the stage play was released starring Fannie Ward as Ellen and W. E. Lawrence as Hugh. "Common Clay" was filmed again as a talkie in 1930, starring Constance Bennett and Lew Ayres. Both films were well reviewed with the New York Times commenting on the 1919 film as "the amazing adventures of 'that common clay girl' are still amazing, and Miss Ward and her company first wring and then cheer the hearts of their spectators." (March 3, 1919).The 1930 version of the film was pre-code and had a number of racy elements. The 1936 version, retitled "Private Number," was cleaned up, slimmed down and simplified. Some of the character names were changed. (The new title is a complete mystery since telephones don't enter into the story at all.) Although Robert Taylor received top billing, the film actually belongs to Loretta Young. Ms. Young portrays a young girl, down on her luck and penniless who becomes a maid for a wealthy family. Basil Rathbone is delightfully slimy as the lecherous and crooked butler for whom Ms. Young works.Of course, Ms. Young (Ellen) and Mr. Taylor (Dick, the Winfield's son) fall in love. The progress of their romance at the family's summer house in Maine is photographed beautifully. Ms. Young looks gorgeous in a bathing suit, a long gown and her maid's outfit. Mr. Taylor, wearing far too much makeup as he did in those days, is nonetheless affecting as the love-struck college boy. Both stars combine physical beauty with polished performances. Patsy Kelly is always good and she is very good here as Ms. Young's fellow maid and friend. Marjorie Gateson and Paul Harvey are stuffy but sympathetic as Mr. and Mrs. Winfield, Dick's parents. Prince, a Great Dane, is excellent as Hamlet, a Great Dane.In the earlier versions, Hugh, now Dick, loves Ellen and leaves her high and dry (and pregnant) when he goes back to college. In Private Number they marry and she makes him go back to finish his degree. Although the acting continues to be first rate, as is the direction and cinematography, the script creaks along from one implausibility to another. Probably the worst one is when Ellen is thrown out of the Winfield's home and fetches up immediately in a lovely farmhouse that someone (never specified) has lent her.It all comes to a climax in a totally unbelievable but nonetheless absorbing trial where evildoers are unmasked and justice triumphs. At the end of the film Ms. Young forgives Mr. Taylor for not trusting her and they go into a final clinch.Private Number shouldn't be a good movie but it is. The creaky script is more than made up for by the direction by Roy del Ruth, the extraordinary visuals and the thoroughly professional acting.

This was one of the few Robert Taylor films where he actually does a decent job with the role he's give. This is Loretta Young's film though...with a splash of Patsy Kelly and a huge dog thrown in.Loretta come comes to the big city to find work and decides to try being a maid at a rich family's home. With the help of Patsy Kelly she gets in he door to talk to the creepy head of the servants...the butler played by Basil Rathbone. He's a scheming sort and goes for her in a big way but she always manages to skirt the issue around him. She finally meets the family's son and that's it. They fall in love and that's it. Well...almost.This is a decent enough picture. Normally I don't do to well with Robert Taylor but in this he gets by. This along with maybe, Johnny Eager are probably the only films I can swallow with him in it. In this he goes without a mustache and honestly, I think he looks way better. Loretta Young is a fine actress and she always brings you into her innocence in her films. Patsy Kelly is just the same as always. A wisecracker with the best lines in the film. She's a spark plug throughout this. Basil Rathbone really plays the smarmy head butler very well. So well you'll hate him. The dog, a huge great dane, is just a star all the way. Watch all his gestures. Most of the scenes he's in seem so natural and not set up with a trainer. This big sucker had personality.Throughout, this film was good but towards the end it just gets to be a bit...yeah rightish. There are scenes where if the character would speak up a lot of what happens would work themselves out but they up the snobbery and bossiness to keep it going. The end takes place in a court room to annul the marriage and the groom doesn't even show up until the end of the trial. I mean the guy signs the annulment papers for it to go through and he's not in court the whole time? Come on. The court scenes are actually a laugh. Not really well done but acceptable. His whole family lies to get to point in court and they leave without an aftermath of all this. I mean they blatantly lie and no punishment. I thought lying in court was a crime. Not in this film. They just let it slide without an outcome. Of course this is suppose to be a love story. Working class maid marries the rich son. Perfect for its day and age in the middle of the depression.Pretty good little film. Grab it and see a really young Loretta Young and Robert Taylor. Stay and watch it for Patsy Kelly and the huge Dog. You'll probably get a kick out of it like I did.

I caught this film for the very first time,as I can remember,on Fox Movie Channel.The lead actor was listed as Tyronne Power instead of Robert Taylor.I don't know whether the fault lies with TV Guide or the cable channel.Maybe both.I enjoyed watching a young Loretta Young,one of my favorites.The storyline deals with a maid who falls in love,marries and has a baby for her employers son.Basil Rathbone,another one of my favs,plays the wicked butler who cooks up a devilish plot to have her arrested and and discredited in the eyes of her employers and fired.This old black and white charm took me way back to my childhood days watching Ms Young's television show with similar stories.Released way back in the 1930's,it is a jewel of a picture.Can you believe TV Guide even had it listed as a comedy?