Gigolette: A Bit of Pre-Code Charm

Should you watch Gigolette? If you are into 1930s studio-era fluff, sure. It is harmless, snappy, and moves along without bothering to ask for your full attention. If you want something that actually sticks to your ribs or keeps you on the edge of your seat, look elsewhere. This is for the folks who want to pretend it is a rainy Sunday in 1935.

The whole thing hinges on a misunderstanding that wouldn't last five minutes in the age of cell phones. Ralph Bellamy is his usual steady, slightly perplexed self. He’s the nightclub guy, playing it cool like he always does. When he meets Adrienne Ames, the dynamic is cute but predictable. He thinks she is a working girl, she thinks he is just a guy, and they dance around the truth for way too long.

There is a scene in the charity bazaar that just drags. You can tell the extras were probably told to just walk in circles behind the main actors. One guy in the background looks like he is desperately trying not to laugh at something happening off-camera. It’s distracting, but in a funny way.

The pacing is all over the place. Sometimes it feels like a race, then suddenly it hits a wall and everyone is just standing in a room talking. It reminds me a bit of the frantic energy in Hat Check Girl, just without as much bite. The dialogue is snappy enough, but nobody is going to mistake this for Shakespeare.

I found myself staring at the sets more than the plot. The nightclub looks like a cardboard dream. You can almost see where the stage lights are reflecting off the fake palm trees. It is charming, honestly. It doesn't have the grit of Tin Can Alley, but it isn't trying to, either.

Robert Armstrong shows up and brings his usual energy, which helps a lot when the script starts to sag. He’s got that specific way of talking that makes everything sound like a crisis, even when it’s just about ordering a drink. 🍸

Does it make sense? Not really. Do I care? Only a little bit.

• The lighting in the club scenes is surprisingly moody for such a silly movie.
• The socialite act is played a bit too stiff, but that's the point, I guess.
• The ending feels like it was tacked on because they ran out of film stock.

It’s a breezy watch. Don't go in expecting a life-changing experience. Just take it for what it is—a quick, glossy bit of studio magic that evaporates the second the credits roll. If you liked the tone of Help Yourself, you will probably be just fine here.