User reviews

"The Easiest Way" is an example of how Hollywood could deal with thorny subjects before the arrival of the Hays Code. We are presented with a situation in which a young, poor, but attractive young woman, could go up in the world using her natural charms in a realistic way. That was going to change in a few more years, as the Code would not let themes such as this one be dealt with the frankness prior to its arrival.

The film, directed by Jack Conway, is curiosity piece by today's standards. The original work was made for the stage where there was an open mind about risky situations. We are presented with a poor family at the beginning of the story living in a crowded tenement. Laura, the beautiful young girl has no future of getting a rich man that will take her away from the poverty she is living. When a rich man enters her life, she sees the opportunity to escape her humble origins.

The film deals in a realistic way with the subject of the illicit affair between Laura and Bill Brockton. When she falls for young Jack Madison, she believes that she must abandon the man that provides her comfort and easy life, until she finds herself penniless and must face with the fact that she has to go back to Bill, but loses Jack in the process. At the end, we watch her spying outside her married sister's suburban house which is the epitome of happiness.

Constance Bennett makes an interesting Laura, but this is not her best role in the movies. Robert Montgomery is not seen enough in the film. Adolph Menjou makes a great Bill Brockton, the rich man who loves Laura in spite of the fact he knows Laura doesn't care for him. Clark Gable made a good impression as the brother-in-law critical to Laura. Marjorie Rambeau, Anita Page and Hedda Haper appear in minor roles.

Constance Bennett is a woman who gets a sugar daddy in "The Easiest Way," also starring Adolphe Menjou, Robert Montgomery, Anita Page, and Clark Gable. Made in 1931, it's directed by Jack Conway, and it's very well done.

Bennett plays Laura, who lives in a crowded tenement with her large family, which includes her father who manages not to work. She gets an opportunity to model for an advertising agency. While there, she catches the eye of the boss (Menjou) who offers her a life of luxury. She takes it. Her mother shuns her, and her brother-in-law, Clark Gable, has no use for her. While she and Menjou are in Colorado, she meets a reporter, Robert Montgomery, and they fall in love. She promises to be faithful to him while he's in South America for three months. But it's pretty hard to make it on her own.

This is an interesting film. Because the actors were getting used to sound, the rhythm is occasionally off, i.e., there are sometimes awkward pauses between lines. Everyone's acting is good, with the exception of Marjorie Rambeau, who has a very melodramatic role and does the tremulous voice thing in her big monologue. Rambeau, however, had been a Broadway star, where her theatrics were more appropriate, and it took actors time to learn the art of film acting. She was a fantastic actress, and I particularly remember her as Joan Crawford's mother in "Torch Song." Constance Bennett, as usual, was very beautiful. She is excellent in the part of a torn, vulnerable woman. Gable is a tough guy sans mustache. He hadn't yet developed his screen persona, but the gorgeous smile was there. Robert Montgomery is wonderful as a young reporter.

There was a neat shot where the camera travels up a building, zeroes in on a window, and then zooms in. It was dizzying and exciting, and it's the kind of detail that makes "The Easiest Way" a good watch. There are real outdoor scenes, too, no painted backdrops, and opulent sets. If they weren't opulent, they were realistic, for instance, the crummy apartment where Laura's family lives.

There was another ending to this film that the Hays office vetoed. Apparently it was shown in some theaters but is no longer available. I'm a sap, so I liked the ending that's in the movie.

The Easiest Way is directed by Jack Conway and adapted to screenplay by Edith Ellis from the 1909 play of the same name written by Eugene Walter. It stars Contance Bennett, Adolphe Menjou, Robert Montgomery, Clark Gable and Anita Page.

Obviously tame by today's standards, it's still not hard to see why The Easiest Way ruffled feathers back in the day. Essentially the plot finds Bennett as Laura Murdock, a poor shop girl who grows so tired of sharing a cramped tenement home with her large family, where three to a bed is the norm, she lands herself a rich older man (Menjou) and becomes a kept mistress. This ostracises her greatly and stuck in a loveless relationship, she's in a bad place emotionally. Hope comes in the form of Jack Madison (Montgomery), and the two hit it off right away and fall in love, but can Laura leave behind the wealth for the sake of love? Just what is the easiest way?

And so it is, running at under 75 minutes, pic gets away with what it can by ensuring the taboo nature of the story centre is cunningly evident. Conway and Mescall show some deft ambition with mobile camera work and nice framing shots out in the exteriors. Performances are all credible, with Gable serving early notice of what was to come in his career, and the ending, one of many filmed as the makers searched for tonal closure, works just fine to linger as a bittersweet aftertaste.

Montgomery isn't in it nearly enough given that he is playing one of the key characters, and the big issue of women striding out for their right to challenge society's stone-age ideals is inadequately unfurled. Other than that this is a thoroughly enjoyable piece of of pre-code classic cinema. 7/10

The shopgirl-turned-clotheshorse concept was a staple of 1920's a 30's films, with Joan Crawford wringing quite a bit of success out of the formula. Here, Bennett gives it a go in a story that was based on a 1909 stage play. She portrays the eldest of five children living with their parents in a squalid, cramped New York tenement. The father resists working while the mother barely manages to wrangle the kids and put supper on the table. Bennett toils behind the tie counter at a department store until one day she gets the opportunity to pose as a model for advertising artists. She doesn't stop with this modest success and proceeds to hook up with the boss (Menjou), who fixes her up with a fancy apartment and all the jewels and furs she can handle. During this, she aids her family as well, though a few of them reject her for the way she earns her keep. On an extended visit to Colorado, she happens upon handsome young writer Montgomery and quickly falls for him. She decides to give up her lavish "kept" lifestyle and return to work while he is away on assignment, knowing he will be back for her to marry him. But can she take that step backwards? Bennett, one of the highest paid and most popular stars of the era presents an appealing and attractive persona (check out that waist!) She knows that what she's doing is "wrong", yet circumstances seem to prevent her from doing otherwise unless she wants to exist in poverty. Menjou is assured and manipulative in his role. Montgomery is quite fresh and likable for the better part of his screen time. Page appears to great advantage as Bennett's far earthier sister who winds up wed to Gable in one of his very earliest roles. He's handsome though his character is a little self-righteous. Rambeau makes an impression as one of Bennett's sidekicks in the modeling biz who also reaches for the top in the mistress game. Virtually all of the cast members give vivid performances. The opening sequences in the rundown apartment are quite fascinating in their snappy dialogue and depiction of the hard times. Today's audiences will be able to see through the predictable plotting, but the film still holds interest. Though the Hays Office is sometimes blamed for tampering with the material, the 1917 silent version had at least as downbeat an ending as this one does. In fact, if the story were to end any other way than it does, there'd be very little point to it all!

Constance Bennett stars as a lower class girl who takes the easy way. That is, she becomes a kept women. We see her in beautiful gown, in jewels, in furs. Adolph Menjou is footing the bill.

Then she meets newspaperman Robert Montgomery and wants to give it all up for true love. I won't reveal the ending. But it's not an especially happy one, and three cheers to Hollywood for not selling out.

A few comments on the perfumers: . Robert Montgomery is not someone I can imagine anyone's throwing over even a modest income for.

. Clark Gable has a fairly small role here. He plays, with of course no mustache, Bennett's proper working class and disapproving brother-in-law.

. Bennett is chic as she always is. But she isn't photographed in a faltering manner. Her profile is rather flat. She appears to have an overbite and her false eyelashes seem apparent. Maybe the director of photography and she did not get on well.

. The brilliant Marjorie Rameau turns in the earliest of her fine performances that I have seen. She plays another kept woman. When Bennett is down on her luck and asks for a loan, she sends her packing. But when her daddy dies, she comes to Bennett for money and is given it.

Her performance is in a different realm from that of any of the other players in this movie.

Bennett is a strangely forgotten star of early movies. Rambeau is a sadly underrated actress, whose career spanned several decades.

Regardless of the quality of the story, I felt I had to see "The Easiest Way" because it's one of Clark Gable's earliest films. He plays a supporting character, Nick, a guy far less sophisticated and lacking the trademark mustache.

Laura (Constance Bennett) lives in a crowded apartment with her trashy family. They're poor and the father is a genial drunk. Because of this background, it's not at all surprising that when she is given a chance to become her boss' mistress, she jumps at the chance. After all, he's loaded and pampers her like she's never been pampered before! But folks who know her realize what sort of a woman she is, particularly her brother-in-law, Nick. He's wise to the trampy sort of life she leads.

A bit later, when Laura is on vacation out west, she meets a nice- guy reporter, Johnny (Robert Montgomery). He's handsome, sweet and you assume they'll soon marry---and he knows what sort of woman she was. However, this is only about half-way through the film, so you know IF there's going to be a happily ever after, it will have to come after a few plot twists!

This film is a great example of the so-called 'Pre-Code' and its sensibilities. Although most folks today think all the movies made back in the good 'ol days were very prudish, this was NOT the case before mid-1934. In the early 30s, studios made all sorts of very adult films with plots involving prostitutes, abortion, fornication and even, occasionally, nudity and cursing. While the films sometimes didn't always SAY that is what was going on, it was always heavily implied and the adults in the audience know the score. Here in "The Easiest Way", words like 'mistress', 'prostitute' or even that she's sleeping with the suave boss (Adolph Menjou)...but it's clearly happening! On top of that, he no-good dad doesn't mind...he LIKES the money she can send home! Welcome to the pre-code era, folks!

So the important question about all this is whether or not the film is any good. If you're watching it for Gable like I was, don't expect too much from him. His role is very limited and he clearly is just a contract actor in this film. As for the film itself, its quite good. The only negative, and I actually liked this, was that the ending is very vague--so if you're looking for a perfect, formulaic sort of picture, this ain't it!

As sound and dialog came to films the Broadway stage became more and more a source for movie properties even if they had to go back considerable ways for material. The Easiest Way was a play written by James Walter and produced by that eminent showman David Belasco first in 1909. It was most typical of the Edwardian era morality works that Belasco so favored.

It could never be done today, in fact it was barely acceptable in 1931 for its incredibly anti-feminist stand. According to the character played by Marjorie Rambeau men rule, make said rules, and women just have to deal with it. Submit cheerfully to being wives and mothers with some occasional outside work if you can fit it in.

Constance Bennett with her small job in a department store doesn't think this is all that's for her. She help supports her parents J. Farrell MacDonald and Clara Blandick and a couple of small brothers. Sister Anita Page is getting ready to marry honest laundry man Clark Gable who has some most chauvinistic views about women, but also about the value of honesty and hard work.

So when advertising executive Adolphe Menjou suggest to Bennett that they shack up, she's ready to take The Easiest Way and go for a life of luxury. That is until she meets newspaperman Robert Montgomery who's ready to marry her once he gets back from a long assignment in Argentina.

Without going into details Bennett makes a holy hash of her life and those tried and true standards of the time for women serve as a lesson to her and all in the audience. Be good wives and mothers and don't take The Easiest Way to prosperity.

The original play only had six characters and so it was expanded considerably at MGM and updated to Depression times where such lessons were not completely appreciated. Still this cast did manage to put it over.

The Easiest Way was the first film at MGM for Clark Gable who was billed eighth down in the cast. By the end of the decade Gable was acknowledged King of Hollywood before Elvis was known as the King. Nearly all the players billed above him would be below him in cast lists in the future. His appeal on the screen was immediately discernible and in the end of this film, he's given a bit of humanity and shown as not the blue nose stinker you might originally have thought him to be.

The Easiest Way is way old fashioned for today, I doubt too many stock companies do the original play today. Still some will find it a curiosity and Gable is always good to watch.

"This life isn't a romance for girls like us. It's a game with the men holding all the trumps. They like to look upon us as some animal they're proud to own."

This is a pre-Code film, but it's a mixed bag relative to moralistic messaging, and that was a little frustrating. Its premise is born out of the Depression, and it being tough for working families to make ends meet. In a common theme from the era, a sudden event promises a change in fortune: the meeting of a rich man. It comes at a cost, however, and "the easiest way" out of one's problems is soon shown to be the hard way.

We initially meet a large family in an early morning scene that was sharp and full of life. Kids of all ages sharing beds are being awakened by their mother and sent on errands or called to get their breakfast. The father announces he is tired of the physical strain of working as a longshoreman and wants to rely on his kids, so he would like his adolescent son to drop out of school so that he can get a job at a construction site catching red-hot rivets thrown by workers in a pail. Yikes. We're not in 2023 here, we're in 1931 - although in light of Iowa and other state legislatures moving forward with loosening child labor laws with little ability to hold businesses accountable in the event of injury or death, hey, perhaps we're also looking at the future here! But I digress. One of his adult daughters (Anita Page) is soon to marry a hard-working blue-collar guy (Clark Gable). The other (Constance Bennett) is a sensible saleswoman, but after being discovered as a modelling prospect, becomes the lover of the top boss (Adolphe Menjou). Her sugar daddy allows her to live a life of luxury and support her family, but the immorality of the relationship (as seen in the eyes of the era) causes her to be ostracized by her mother and brother-in-law, and she's conflicted when she meets someone she truly loves (Robert Montgomery).

It's a fantastic cast with all five of those actors, and these were early roles for Montgomery and Gable, which is a bonus. Director Jack Conway keeps things moving along with great pace as well, and occasionally there are some fine shots, such as the one of Bennett and Montgomery talking at a mountain lake, their backs turned to the camera and the reflection of the trees in the water in the background. We never really see any passion between Bennett and Menjou so it's decidedly tame for a pre-Code film, and that's almost certainly due to censors taking exception to Bennett's life being shown as too alluring before eventually getting to its message and hacking it up at a local level, as Mark Viera describes in Forbidden Hollywood. The film also vacillates melodramatically as it plays out. I liked that part of this showed the position Bennett's character was in, between a rock and a hard place, with her friend saying that the men "held all the trumps," but wish it had taken more of a stand on this hypocrisy.

And that's where most of my discontent came from, the judgment of Bennett's character, while there was absolutely none of this for Menjou's. The most visible form of this comes from Clark Gable's character, who clearly represents the film's moral compass, given the somewhat nauseating forgiveness scene, complete with Christmas trappings, at the end. Even Bennett herself feels she is wrong to be living with a man who is "not the marrying kind," and comes off as more miserable than some of the other strong pre-Code characters and the leading ladies who played them. At least she's not condemned to death so this doesn't feel completely like a post-Code film, but it's close.

Another early talky film that's just full of hollywood giants.... constance bennett, adolph menjou, robert montgomery, clark gable. And directed by jack conway...he won awards for his "viva villa". Laura murdock takes the easy way, as the title says. She leaves a rich playboy (menjou) for honest, hard working newspaper man (montgomery). But when he gets sent off to south america on assignment, laura runs out of money. She goes back to the rich dude to survive. When the reporter finally returns, she wants to scurry back to him. Will he take her back? It's a study of relationships between (pre-code) men and women, during the depression. Based on the play by eugene walter. A whole lot of snap crackle pop in the sound recording, and the picture is so dark. Clearly in need of restoration. The story is mostly good. The acting is mostly good.

I love old movies. What got me annoyed with this movie was the first scene I watched about a half hour into the movie. I saw the main actor steal some meat from an Indigenous woman and then feed the meat to a dog. But I must assume that these old movies treated the Real Americans with disdain. Don't get me wrong, these old movies are enjoyable to watch. But why would someone shoot such despicable scene and put it into the movie? The scene really didn't fit. I must assume the scene was put into the movie to perpetuate the racist view of minorities by the white race. In this case an Indigenous person was robbed and was made to appear as a normal thing to do by a white person. I won't stop watching these classic movies, they're too enjoyable. It was just a product of the times I guess.

A beautiful young model finds THE EASIEST WAY to support her needy family is to become a rich man's mistress -- until she falls in love with an energetic reporter.

This little film is strictly soap opera, but it's well presented and makes a pleasant diversion. The production values are good, especially in the opening sequence which reveals the inside of a tenement flat, and causes the viewer to appreciate the trouble MGM expended on even its small pictures.

Beautiful Constance Bennett is very convincing as a woman who frankly admits her moral standing -- until true love complicates everything. Urbane Adolphe Menjou, as the rich businessman who controls Bennett, is slightly more sympathetic than usual in a role he could probably have played in his sleep. And Robert Montgomery gives his patented friendly portrayal as the steadfast fellow who earnestly loves Bennett -- until he is told the truth of her situation.

A fine supporting cast helps the proceedings: tough-talking Marjorie Rambeau as an aging model out to squeeze every penny possible from the male animal; lazy J. Farrell MacDonald & careworn Clara Blandick as Bennett's poor parents; blonde Anita Page as Bennett's lively younger sister; and sturdy Clark Gable, as Page's laundryman boyfriend, who would eventually supplant Montgomery as MGM's favorite heartthrob.

Movie mavens will recognize jovial Dell Henderson and stately Hedda Hopper, both uncredited as Bennett's Colorado hosts.

Pre-code films are always fun to watch although they do seem primitive by today's standards. But as a measure of what Hollywood was able to do despite film censorship that had to downplay the more censorable aspects of the original story, this is pretty risqué for its time.

Bennett, of course, was the Joan Crawford of her era, always playing a put upon heroine in sob stories that never had too much credibility. Here she pines for Robert Montgomery (singularly lacking in the big romantic star department, even then), while her disapproving brother-in-law (Clark Gable in an early role), frowns on her unorthodox behavior as a kept woman (Adolphe Menjou is the rich sugar daddy).

Enjoyable only as a relic. Bennett does a passable job, no more, her false eyelashes and peroxide blonde hair making her look a little harsh under those kleig lights. But the most natural performance, as well as the most charisma, is clearly Clark Gable's. He comes across as a handsome newcomer who steals a scene by his mere presence. He has the final Christmas scene with Bennett, and it's a touching one.

He would later become the big romantic male star that Robert Montgomery failed to develop into.

Heard about Joan Bennett, but never viewed any of Constance Bennett's films, and in this 1931 picture she was very young and had great talent. Constance,(Laura Murdock),"Sin Town",'42, played a young gal who lived in a low income flat with her large Irish family and a father who was lazy and drunk most of the time. Laura decided to move out and go on her own when she meets Adolphe Menjou(William Brockton)," I Married a Woman",'58, who played a fat, rich, dirty old man who buys Laura's body and soul. As the picture progresses, Laura has plenty of worldly goods, but deep down is very unhappy and Bill Brockton does not intend to marry Laura, but just gives her promises. One day, Laura meets Robert Montgomery,(Jack Madison),"The Great Gatsby",'55 TV, who is a reporter and falls in love with him. You will also see Clark Gable, "The Misfits",'61, who portrays the role as a laundryman who goes house to house and eventually marries Laura's sister. The "Easiest Way", was performed on the New York City stage and was a rather sexy play for 1931, because Laura was considered a prostitute living with a man unmarried in those days. You will like this ending, but the real ending was a great deal different.

Cautionary tale of how prostituting oneself for a life of privilege will backfire on you once you find true love. Constance Bennett is the poor girl who forsakes her blue collar boyfriend when she catches the eye of a wealthy businessman, only to find herself trapped in a loveless relationship when she meets struggling journalist Robert Montgomery. Notable only for an early appearance from a 'tache-less Clark Gable and Bennett's slinky underwear.

Laura Murdock (Constance Bennett) and her family are the working poor. She sleeps in the same bed as her two other lookalike sisters. She rejects a marriage proposal from the boy next door. She tries modeling and moves in with older rich advertising tycoon Will Brockton (Adolphe Menjou). She grows distant from her family and becomes a party girl. She falls for newsman Jack Madison and leaves Brockton. Only it's not so easy.

Clark Gable has a small early talkie role. This is almost his first talkie and he is all Gable all superstar. He sounds like Gable and electrifies his scenes. This is fine as a romance drama. It's probably interesting for being an early talkie with some cinephiles. Mostly, it's important for any Clark Gable completist and fans of the superstar.

Every preconception about how bad films were in the very early thirties is realized in this: slow stagey acting, theatrical delivery of lines and a complete lack of any engagement whatsoever with the viewer. You might also conclude that A. I. must have existed back then because surely only a computer program could churn out such a dire, cliched and predictable story as this.....apart from the ridiculous ending of course which seems like one of those old TV shows where the audience used to vote on what ending they'd like. Holy mackerel, this sure is a wrong 'un.

There were so many fantastic movies made in 1931 - Rouben Mamoulian, Frank Capra, William Wellman, Mervyn LeRoy were producing some truly amazing, innovative and imaginative pictures but they weren't crippled by the constraints of working at MGM. Director Jack Conway wasn't just handicapped with a lousy story but also couldn't really show any signs of individuality - he had to stick to rules and make to the MGM house style. In 1931 MGM was easily the most successful studio financially - Irving Thalberg knew exactly what the people wanted and that's exactly what MGM gave them. Obviously there were exceptions but ninety years later so much of that bland, corporate fodder which MGM manufactured for mass consumption simply cannot connect with a modern audience with more sophisticated expectations. Although this picture is all about desire, disappointment, hope and despair it doesn't actually have any emotion, it just goes through the motions.

What's utterly mind boggling is that Constance Bennett became the highest paid actress in the world in 1931 for making this - yes, making this! Why? Wistful silent stares into the distance every three minutes might have worked for Lilian Gish in the old silents but this isn't a silent picture. She was OK in WHAT PRICE HOLLYWOOD made a year after this (by a decent director) but she's absolutely awful in this. After enduring this I'm definitely avoiding anything with her ever again. I just don't get why she was so incredibly popular - it certainly can't have been on her acting skill. I don't see it myself but apparently she was considered a great beauty at the time - but then again so was Jean Harlow and she always reminded me of a bloke in drag. (It's a shame gorgeous Anita Page didn't get a meatier role in this.) The rest of the cast are also just as flat and unconvincing (or maybe just under-directed) as Miss Bennett, Adolphe Menjou is predictably his usual annoying slimy self but he's probably the only person who you actually feel anything about - even if it is just wishing you weren't having to watch him. Even Clarke Gable is just a boring one-dimensional guy who works at the laundry.

1931, the year this movie was made, may say "pre code" but the overall tone of the film is as heavily moralistic as any picture shot from 1934 to 1960. The message clearly states that if you're a gal who has a fling with her rich boss that involves sex before marriage (especially, as here, enjoyable sex) then you must pay by suffering diverse punishments, chief among them poverty and familial ostracism. I guess we should be thankful that Constance Bennett's sensual, gold digging model is not made to bump herself off or be physically abused, the fate of late 30s, 40s and 50s ambitious career women in films who slept around, but Bennett's Hester Prynne turn in this prudish work is a long, long way from the cheerful amoralists Blondell and Babs were playing at the same time period. Give it a C.

PS...Gable, in only his second film, is good but I'm glad he shifted from pillar of middle class mores, as here, to amiable rogue.

Wonderful story ruined by Hays Office has fabulous Constance Bennett escaping her New York slum upbringing by becoming a model and mistress to Adolphe Menjou. All is well until she runs into reporter Robert Montgomery in Colorado Springs (the Wild West in 1931). He's off to South America and asks Bennett to be good and wait for him. Well that lasts about a month. She runs out of money and goes back to Menjou. Better than it sounds until the hack ending. Solid performances by the stars, especially Bennett, and ably supported by Anita Page, Marjorie Rambeau, Clark Gable (his first MGM film), J. Farrell MacDonald, Clara Blandick, Jack Hanlon (as the sullen brother), and Hedda Hopper. The opening tenement scene is just wonderful. Gable is dynamic is his first big part. Rambeau is always terrific. Page is quite good in a supporting role. Menjou is slimy, but Constance Bennett is front and center and mesmerizing. She was a major star of her time--too bad she's mostly forgotten now.

Bennett's screen image was that of a sophisticated girl who knew how to take care of herself and get what she wanted. Her fans (wrote Griffith & Mayer) believed she would get out of traps that would hold them fast. Surprisingly then, in this film she's passive, unambitious and defeated at the ripe old age of 20 something. Makes me wonder what her benefactor, Menjou, saw in her that kept him interested for several years.

The beginning scene in the tenement apartment is terrific, the crowded setting warm and cozy as the family members get ready to start the day. The entire cast is perfect. Gable is very watchable and it's easy to see he would soon be a star. Montgomery is charming and believable when he tells Bennett he knows about her and Menjou but he loves her and wants to marry her as long as there is no more dilly dallying with Menjou. Rambeau is especially good in the scene where she refuses to loan Bennett $100 (a lot of money in 1931), telling her to get off her high horse and do what Rambeau does to support herself. And the generous but not-the-marrying-kind Menjou is likable and his suits are beautifully cut and fitted.

And Anita Page is excellent. A commenter asks what happened to Page's career. In 1930 Page was a star. In 1931 she was a supporting player. In 1933 her MGM contract was not renewed and she retired. Studio politics is what happened to the star who was second in popularity to Garbo.

So there was another ending filmed but not used. My guess is that a despairing Bennett jumped onto the RR tracks, ala Anna Karenina, or teamed up with Rambeau as a I-hate-men gold digger.

Constance Bennett gives her finest Jean Harlow impersonation in The Easiest Way, a movie that could have easily starred the blonde bombshell. She lives in squalor with her parents and four siblings, so when she's approached by a stranger in the department store where she works, she's anxious to snatch up his offer of a higher paying job. Soon she's working as an advertising model, and her family is glad for the extra income; but when the boss Adolphe Menjou wants her to be his mistress, she faces the prospect of being shunned by her family.

Based on the title, it's no great guess to assume she accepts Adolphe's offer. She soon regrets her choice when her entire family cast her aside (except for her father who continues to borrow money) and when she falls in love with the young, foppish, innocent Robert Montgomery. When Bob finds out she's damaged goods, he rattles off a hilarious pre-Code insult: "I don't want that kind of love. I can buy that anywhere." This story is very dated, but if you like these stories, you might want to watch it. You'll see three familiar faces: Marjorie Rambeau plays Constance's morally loose friend with bad advice and a bad attitude, Auntie Em (Clara Blandick) plays her mother, and a young, pre-mustached Clark Gable plays her sister's everyman boyfriend.