This is a
fabulous Frank Capra movie about Apple Annie, an elderly street vendor (May
Robson) with tattered clothes but a heart of gold. She wants to impress her
daughter who’s coming to visit with her fiance, a hoity-toity Count.
All these
years, Robson’s daughter has been away at a Spanish school, and Robson has been
signing her letters as Lady Manville and describing in great detail a make-believe
high life spent hobnobbing with luminaries; now Robson needs to play the part
for real, or risk breaking her daughter’s heart and jeopardizing her marriage. Heart-warming and delightful seem such over-used, trite and flimsy words, but
in their purest definition perfectly describe this movie.
The cast combination,
though it may be “lesser-known” to classic movie newbies, is magic: Warren
William plays the slick gangster who believes his gambling luck depends on
Annie’s apples, and so, partly out of superstition, but mostly because he has a
soft heart which he tries mightily to conceal, he moves heaven and earth (or,
rather, all the underworld figures he can intimidate, blackmail or cajole),
directing all his considerable charm and resources to helping Robson pose as
the center of a high society circle. The fantasy world he creates is
awe-inspiring, populated by colorful characters and played by comedy masters in
juicy roles, greats like Glenda Farrell, Nat Pendleton, Ned Sparks and a deceptively
doofus-y Guy Kibbee as Robson’s “husband,” “Judge” Manville.
The way they all
pull together, despite bickering and threats to quit, and hold the
spectacularly ridiculous masquerade together is as suspenseful as any thriller.
Nosy reporters smell something’s not right? No problem, kidnap them. Gangsters
and their molls don’t sound convincing enough to pass as swells? No problem,
write scripts and speeches for them and rehearse everything like a big Broadway
production replete with lessons in bearing and posture, much to the puzzlement
of the authorities, who seem convinced this weird behavior is all meant for
some criminal purpose.
When things finally seem doomed to fall apart, and even
Robson loses all hope, Warren William pulls off one whopper of a save, and restores
not just the situation at hand but your very faith in humanity. This is one of
the movies that falls into the category “they don’t make ‘em like this
anymore.”