Cheap Personal Property (Video) (W.S. Van Dyke) Price

Related Products

Customer Reviews of Personal Property

Better the Second Time Around
The first time I saw this film, I didn't think much of it, but I decided to give it another chance because I love Jean Harlow and because I hadn't paid quite enough attention to it the first time. <
> <
>On the second go-round, I saw the film in a much more favorable light. The story concerns a giant flirt (Robert Taylor) whose eye lands on a beautiful woman of the upper class (Harlow). He follows her around, hoping to receive at least a smile with no avail. He waits outside the door of her home patiently while she fumes inside when a bill collector joins him on the front stoop, itching to get to the hospital to see his child born but rooted because of his job. Taylor offers to take over, a great solution for both of them. He becomes stationary at the house until Harlow can pay the bill but to her dismay since she has no money. In fact, she plans to marry another rich man because all the last one left her with a pile of debts and some large clothes. The film climaxes at a dinner party filled with rather unusual guests and Taylor as the butler. <
> <
>The film is terribly fun. Taylor has a mischievous quality that is very endearing as well as a hint of romance throughout. Harlow is appropriately cold at first but softens into a wonderfully sweet woman. This movie is proof that she wasn't just a pretty face; she could act too. Taylor and Harlow work very well together and their chemistry carries the film along nicely.

---

MGM Greats Jean Harlow And Robert Taylor In Breezy Comedy
During MGM studios heyday in the 1930's one of their most regular practices was the regular teamings of their top male and female stars in film after film. It's all the more surprising then that this little 1937 comedy marked the only teaming of two of MGM's most luminous stars of the period in Jean Harlow and Robert Taylor. While "Personal Property", could be very easily viewed as simply one of the program fillers designed to meet the huge demand for new product in the cinemas during the 1930's, it does reveal a very pleasing and easy rapport between the two stars who combine well and make the most out of an at times rather flimsy story . The film is also significant in being the last completely finished effort by screen legend Jean Harlow prior to her tragic early death while nearing completion of her next effort 'Saratoga", with Clark Gable the same year. That realisation does give "Personal Property", a sort of bittersweet quality and makes one think of "what might have been possible", had she lived and continued in the sophisticated comedy genre for which MGM, the studio of studios was so well suited. <
> <
>Adapted from a play called "Man in Possession", "Personal Property", relates the story of impoverished widow Crystal Wetherby (Jean Harlow), who is living a precarious existence literally keeping one step ahead of her numerous creditors. She manages to keep up the outer appearance of being well off but only at the expense of her only remaining servant's sanity, loyal maid Clara's (Una O'Connor), as she is often left to fight off the baliff's. Crystal finds a supposed opportunity to escape this life in the arms of pompous Englishman Claude Dabney (Reginald Owen), an owner of a women's lingerie chain which has fallen on hard times. Both believe the other is the meal ticket to answer all their financial woes however Claude's black sheep younger brother Raymond (Robert Taylor),soon complicates things when he gets himself into yet another scrap with the law and is exiled from the family home. In London he encounters Crystal at a hotel and instantly smitten follows her to the Opera. Crystal is less than impressed by him and when follows her home and pretends to be part of a team of baliff's who have come demanding payment for some of Crystal's debts. Not knowing that Crystal is his brother's fiancee Raymond gets Crystal to agree to him being her butler at a dinner party she is planning to welcome her future inlaws not knowing they are actually Raymond's parents and all sorts of humourous occurences begin to occur when the startled guests see Raymond working as Crystal's maid. Raymond deliberatly ruins the dinner party however Crystal begins to realise that it's the breezy Raymond, penniless as he is, who she really loves instead of his stuffy older brother who also cools on the idea of marrying Crystal once he discovers that she hasn't got a dime to her name. Raymond manages to clear out all of the guests on Crystal's wedding day and when she comes down reluctantly to marry Claude she is greeted by an empty house and a smiling Raymond who she embraces at the happy finale. <
> <
>A star vehicle for two very popular personalities of the time "Personal Property", undoubtedly is however it does show an interesting development in the refining of Jean Harlow's screen image from the fast talking, sassy woman usually from the wrong side of the tracks as seen in such classic efforts as "Red Dust", and "China Seas", to more refined types of ladies. Despite already suffering from the illness that would kill her, and in some scenes appearing a bit weary this in a way works well for her character here as someone who is rapidly tiring of her current predictament and wants a way out. Her rapport with Robert Taylor works very well despite their quite different screen personas and the pair make a most handsome couple on screen together. Robert Taylor once again proves his skill with this type of light hearted comedy and he makes the most of the often slim material he is given to work with here as the cadish black sheep of the family. The suporting cast as befitting a major MGM release for that year is rich in skilled character actors such as Reginald Owen who repeated his stage role as Crystal's priggish money seeking fiancee, and the always amusing Una O'Connor plays yet again one of her easily disturbed worrying maids to perfection. Cora Witherspoon as the social climbing Mrs Cosgrove Dabney and Lionel Braham as the rubber boot wearing Lord Carstairs round out an amusing set of personalities that really help bring the movie to full throttle during the very amusing dinner party scene. "Personal Property", with its snappy dialogue was an ideal directing chore for MGM's famed speedy director Woody "One Take" Van Dyke, who was assigned directing duties. He makes the most of the material here which although certainly inferior with what he had to work with in films such as "The Thin Man", still provides many amusing moments for the viewer. Being a major star vehicle for MGM of course no expense was spared in giving the film the typical "MGM", look with lavish sets and with designer Dolly Tree's lavish costumes for Jean Harlow in particular giving this film more of an "A", class sheen than it probably deserves. <
> <
>While not an hilarious comedy that will set you off into fits of laughter "Personal Proerty", is great viewing for those that enjoy light hearted society comedies peopled by beautiful people in glamourous settings. It certainly shows the MGM star making process in it's best light and rather sadly gives many indications of the direction that Jean Harlow's career could possibly have taken in sophisticated comedy in the next few years had she lived. Try and catch Harlow and Taylor, two of MGM's brightest stars in this frothy comic romp soon. <
> <
> <
> <
>

---

Make This "Property" Part of Your Collection
Jean Harlow and Robert Taylor made only one movie together, PERSONAL PROPERTY. Their chemistry was palpable and moving. In retrospect, when one considers that Harlow was then in the final stages of death from uremic poisoning at the age of 26, the joy and screwball comedy of director Woodbridge S. Van Dyke becomes somehow muted by pathos. Many of the scenes in which Harlow parades across the stage wearing magnificent gowns showcase a woman whose character on screen is conflicted by a desire to marry a man (Reginald Owen)for his money and who, in turn, thinks the same of her. In a film that is supposed to be the quintessence of light comedy and mistaken identity, Harlow manages to invest her character with a weariness that suggests that beneath the brassy blondness lay a heart with a conscience. For those who are familiar with Miss Harlow's disease, it is impossible to view such scenes without some tears mingling with the humor. And PERSONAL PROPERTY is a funny film, although not quite in the same league as its better known competition. Still, when Harlow and Taylor share screen time, you hope against hope that they will overcome obstacles of money and identity to wind up together. The obligatory happy ending does not seem forced at all, and suggests that the value and worth of a person's property are more of a function of the heart than of the wallet.