JohnHowardReid Frank Fay is in much better form than his rather poor Show of Shows showing in Michael Curtiz's God's Gift to Women (1931). True, the director is obviously battling to keep the loquacious Fay the center of attention when he is so obviously outclassed not only by the women of the title (led by the lovely Laura La Plante, assisted by - in order of importance - Joan Blondell, Yola d'Avril, Margaret Livingston and Louise Brooks) but by most of the men (Alan Mowbray, Charles Winninger, Arthur Edmund Carewe, Billy House and even Charles Judels)! One wonders why the studio persevered with Fay, when he was obviously so heavily outclassed by just about everyone else on the lot!(Available on a nice public domain DVD)

mukava991 In this painfully drawn out bedroom farce, set in Paris, Frank Fay is miscast as the titular love object, a descendant of Don Juan, who is smitten with a young American in Paris (Laura LaPlante) but in order to win her must extricate himself from the tangled web of his long- term intrigues with a virtual harem of lovers (played by Joan Blondell, Margaret Livingston, a sadly underused Louise Brooks and others). The set up is amusing and deftly staged by Michael Curtiz, but once the direction of the plot becomes clear it bogs down in long, boring and insultingly stupid gag sequences, one upon another, involving Fay's diagnosis with a potentially fatal illness; eventually the viewer can only long for this character's demise. The fine lineup of female supporting players is wasted as are Charles Winninger as LaPlante's suspicious and protective father and Alan Mowbray as (what else?) the butler. Tyrrell Davis gets to wrap the whole thing up with a decadent chuckle, foreshadowing his even more unusual closing moment in "Our Betters" two years later.Frank Fay's trademark casual banter works against him here because it only adds to the already sluggish pace.

calvinnme Frank Fay was recruited from Broadway by Warner Brothers to be built up into one of their early talkie stars, starting with his emcee role on "Show of Shows" in 1929. Most people really hate the job he does there, but you have to understand that Fay is kidding the audience in that film and in every film he does from that point on for Warners. The problem is, the audience didn't understand this and just found Fay annoying. Two years later he was out of a job as his wife Barbara Stanwyck's star continued to rise.I actually like most of Fay's other films because I can see what he is trying to do with the roles, although I think Warner Brothers did him wrong and set him up to fail by trying to make him out to be irresistible to women in several of his roles. In Matrimonial Bed this wasn't too distracting, but here it is just annoying. Surrounded by beautiful women - including Joan Blondell and Louise Brooks, Fay - as Toto, the Romeo of Paris - becomes enamored of Diane Churchill (Laura La Plante) after just a brief meeting and a single dance. Even more annoying, Diane falls for Toto, although she admits to her father she doesn't understand the attraction - that definitely gives her something in common with the audience.There are many good comic bits and wise cracks in the film, but it just doesn't hold together well at all. The catfight towards the end is well known as the best thing about the film, with all of Toto's women showing up at once to nurse him back to health after they hear he is ill.The sad thing is, you can tell Fay knows he is finished in films at this point. He looks thin and gaunt here compared to Matrimonial Bed made just a year earlier. The story is he began to drink heavily when he realized he wasn't going over with audiences, and his wife's success in Hollywood just made matters worse. It is rumored that "A Star is Born" was based on the Fay/Stanwyck marriage, and I wouldn't be surprised if that is true.This one lacks any kind of coherence. Look at it as one long vaudeville act and you'll likely come away more satisfied.

tashman Of the six or so films Frank Fay made under his early-talkie Warner contract, half wasted time presenting him as some sort of great lover. Battling this concept takes effort and a lapse in sense, not only by the audience, but by the casts of these pictures. This is especially true of THE MATRIMONIAL BED, is less a problem in BRIGHT LIGHTS, but might have reached the ludicrous in GOD'S GIFT TO WOMEN if not for the sensational women involved. Cast as a descendant of Don Juan (annoyingly called "Toto"), it is a testament to the female talent that there is still a lot of fun to be had despite the fact that Frank Fay seldom shut's his mouth. Though the script hardly gives anyone a chance, Fay's incessant chattering "style" is only matched once, when the savvy Joan Blondell fairly bursts into the man's boudoir -- a brief example of sophisticated bedroom farce. This sequence is followed by another gem, a most unexpected three-way battle over Fay; a sexy brawl taking place atop his bed involving ALL QUIET/WESTERN FRONT'S buxom Yola D'Avril, Miss Blondell, and the legendary and stunningly gorgeous Louise Brooks. Yes, Louise was thrown to the dogs in talking pictures, but here is one time (albeit sans bangs) where she looked and sounded sensational for the few moments we were allowed to see her. Nice moments, too, by perfectly capable, delightful silent players: SUNRISE vamp Margaret Livingston, who turns up to give leading lady Laura La Plante a rough moment. La Plante is lovely, and fully up to the challenge of sound comedy. Though hams abound, Alan Mowbray (as the butler), Tyrell Davis (managing to out-fey even Frank Fay), and the fabulous if underused Charles Winninger manage quite effectively. Merely in it for Louise Brooks (and I can't say as I blame you)? Advance to the bedroom romp, but watch the women cavort throughout the opening nightclub sequence -- there are enough glimpses to satisfy. Watch for the beautiful twins from Universal's KING OF JAZZ, the "Sisters G," both of whom are coiffed in what seems to be Louise Brooks' old hairstyle.