The Meanest Gal in Town (1934) User Reviews

Good comedic performances, has historical value (pre Hays Code)

[Figtree · 6/10 · 5 February 2001]

This little film has a lot going for it. There's James Gleason, funny and sympathetic as a sort of "tough guy" barber who wants to win the girl. There's Pert Kelton playing the cute and sexy actress turned manicurist. There's El Brendel (I had never seen him before), playing the naive Scandinavian barber named Chris Peterson. He is a lot more canny than he appears. Finally there is ZaSu Pitts, wonderful as the long-suffering owner of a dress shop. She is actually much more naive about business than Peterson is. My only complaint is that I wish Pitts had gotten a better role. She is playing a weak character who is more pathetic than funny. But, she did what she could with the part.

I was surprised to see in the full cast list that John Carradine is in this film. I didn't notice him, and must have walked out of the room during his scene.

Overall, this is a good movie that is worth seeing for the pre-Hays Code innuendos and some sparkling comic performances.

A comedy full of sexual innuendos, with Pert Kelton stealing every scene she's in.

[Art-22 · 6/10 · 14 November 1998]

Although perky Pert Kelton is billed second to ZaSu Pitts, she's the one the title refers to. She plays an actress, stranded when the manager of her troupe absconded with the funds. Asked by a fellow actress what she is going to do, she responds "Don't worry, I'll wiggle my way out of this one," as she wiggles her derriere walking out of the door. This was the first of many sexual innuendos within the film, released early in 1934, before the Hays Office started really cracking down on violations of the Production Code that July. Even so, I was surprised to hear the expression "cop a feel," used by "Skeets" Gallagher, when he asks a woman to place her hand on his breast to feel his heart beating. Kelton is not mean as much as she is wily, building up El Brendel's barbershop business as a manicurist, by enticing men to come in, and causing much jealousy from ZaSu Pitts, who has been courted by Brendel for ten years. Because of Kelton, this film was an enjoyable romp; without her, it would have been a flat, unfunny comedy.

Forgotten Film Yields Gems

[Ron Oliver · 10/10 · 18 February 2003]

A small town barber hires a flirtatious out of work actress as his new manicurist - much to the chagrin of his longtime girlfriend.

Undeservedly obscure, THE MEANEST GAL IN TOWN boasts plenty of pre-Production Code sauciness and several funny performances. It is a good example of a very competent little comedy which fell through the cracks into movie limbo.

At the heart of the film, ZaSu Pitts & El Brendel make unlikely, but completely compatible, comedic companions. Fluttery fingered & vague, Miss Pitts brings her considerable experience into playing a businesswoman who is very tired of waiting ten years for her beau to propose marriage. Gentle, good-natured dialect comedian Brendel - the Swedish accent was fake - enlivened a handful of early 1930's films with his genial humor. He was always enjoyable to watch and his performance here is no exception, as he portrays a fellow whose greatest ambition is to have enough clients to enable him to add a second barber chair to his shop.

James Gleason scores as the local ladies' man, always ready with the sly innuendo. Pert Kelton practically steals the show as the flirty tart who knows how to get exactly what she wants from most men. Skeets Gallagher is perfect as the brash salesman who almost trumps her ace.

Movie mavens will recognize John Carradine as a stranded actor, Robert McKenzie as a hotel manager, Harry Holmes as the mayor & Vera Lewis as a lady at the Chamber of Commerce luncheon - all uncredited.

You Either Love Him or You Hate Him

[Maleejandra · 8/10 · 28 May 2008]

Chris Peterson (El Brendel) is an unsuccessful barber in a small town. His fiancée of ten years is Tillie Prescott (Zasu Pitts), a hardworking woman who just can't wait to get married. Chris wants to prove he is successful by obtaining a second chair in his barber shop before tying the knot, but Tillie is impatient. She is constantly taken advantage of by Chris and she feels she is the real brain behind the couple. This proves to be false when she falls prey to a business scam. Meanwhile Chris's business starts booming when an actress (Pert Kelton) takes up shop as a manicurist to make some extra money. Her wiggling hips make the shop a hot spot for the local men.

A fun movie with a cast of unknowns, The Meanest Gal in Town is not likely to show up outside of film conventions and collector's homes, but it is an enjoyable film. Brendel makes use of his simpleton Swedish character and provides much of the comedy. Some people hate him; I love him. He is sweet and rather funny, illustrated by scenes like the opener where he strums a ukulele and sings with the accompaniment of a howling dog. Pitts is more likable here than in some of her other movies. In spite of Brendel's sweetness, it is difficult not to root for Pitts too, especially when Chris treats Tillie badly.

Extremely funny and very clever. Great cast.

[elansix · 9/10 · 17 January 1999]

Pert Kelton bowled me over with her very sexy portrayal which allowed her to manipulate the male characters. The very wry Zazu Pitt and the apparently naive but winning El Brendel along with the wise cracking James Gleasen and the traveling salesman character all were very funny and cleverly written. The script had many very pointed comments on the indomitable spirt and frailty of the human character. I have watched the movie many times and always see some different bit that I hadn't noticed before. Obviously, this was a low budget programmer in its day, but a far better movie than most megabudget movies of today.

What it Means

[tedg · 24 June 2005]

Some regular tedg readers wonder why I'm spending so much of our time tromping through third rate 1930's movies.

Because so much of what we live in is cinematic ally defined and so much of that was worked out in the 30's.

The interesting thing about the thirties is that some films are just dead branches on the evolutionary film tree, These are no worse than the others, they're just experiments that failed.

Sex, naturally is of interest. None of us in the west can escape the cinematic walls of the maze we've built. So when you find a forgotten pre-code movie whose only reason for being is sex, you have to watch it. How else to escape.

In this one, the "meanest" girl isn't mean at all. That's some lost code for sexy. This is an actress (out of work) who puts on a sexy act to survive in a small town. So far, its ordinary, and most of the plot points are as well: she just starts doing manicures in a failing barbershop and soon has all the men in town slavering at the doors.

The story takes a bizarre twist at the end. An admirer kidnaps her, thinking mere possession will suffice. As he is chased by townspeople, she runs off with another admirer, a much slicker dude — a traveling salesman who we know as the only other character at her level of con.

At the very end, she retreats back to town, beaten and prepared to do her bit all over again.

What makes this interesting is how her sex appeal is portrayed. There's no nudity, and essentially no mention or focus on breasts or legs, the usual candidates. Her appeal consists of three things: she emphasizes her butt when walking and the camera always follows it. She talks tough, something between Mae West (but without any of the suggestive lines) and Jimmy Cagney.

And there's the musical cue whenever she goes into her sexy act. It is the beginning of that familiar jingle we all know from the Laurel and Hardy movies. It signals: the act begins.

I'm pretty vulnerable to cinematic female appeal. And this notion of a girl putting on an act IS something that has stuck. (It is so strong a meme that when "Breakfast at Tiffany's" reversed it, we were all shocked.)

But all the tricks in this girl's bag fell flat. Flappers won. Girls-next door won. This lost.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

What a hoot!!

[SkippyDevereaux · 27 November 2000]

This movie is hilarious!! Especially Pert Kelton and James Gleason--those two are a hoot to watch in this movie!!

Considering this is back in the 1930's--the risque talk is that more astonishing!!

A very good little comedy.