Girls About Town Review: Pre-Code fun with Kay Francis

If you have about seventy minutes to kill and want to see some of the most absurdly expensive-looking gowns from 1931, you should probably watch this. It is a perfect movie for people who like watching women outsmart men who think they are much smarter than they actually are.

If you want a deep plot or a moral lesson, you will probably hate it. This movie doesn't really care about being 'good' in a traditional way; it just wants to show off Kay Francis and Lilyan Tashman being glamorous and slightly mean.

The story follows Wanda and Marie. They call themselves 'party girls,' which was 1931 code for gold diggers who don't mind a bit of light blackmail or manipulation to pay the rent.

They refer to their targets as 'walruses.' It is a hilarious term for rich, out-of-town businessmen who come to New York looking for a 'good time' and end up leaving with empty pockets.

Kay Francis plays Wanda, and she has that famous lisp that somehow makes her sound even more sophisticated. She can look at a man and you can almost see her calculating the exact net worth of his cufflinks just by the way he blinks.

But the real star, at least for me, is Lilyan Tashman as Marie. She is like a human sparkler—constantly moving, talking fast, and looking like she’s having the time of her life even when she’s complaining.

There is a scene early on where they are getting ready, and the sheer amount of silks and furs in their apartment is staggering. You wonder how they afford it all, and then you see them in action at a dinner party and you realize: oh, they work very hard at being charming.

The Men are Basically Props

Joel McCrea shows up as the love interest, Jim. He is very handsome in that sturdy, 1930s way, but he is kind of a wet blanket compared to the girls.

The movie gets a little slower when Wanda starts falling for him for real. Suddenly, the fun, cynical vibe shifts into this 'should I change my life?' drama that feels a bit forced.

I much preferred the scenes with Eugene Pallette. His voice sounds like someone dropping a bag of gravel down a flight of stairs, and it’s always a joy to hear.

He plays one of the 'walruses,' and the way Marie handles him is like watching a professional athlete. She knows exactly when to laugh and when to look bored to get what she wants.

It’s much more entertaining than the rom-com stuff. I found myself wishing the movie stayed in the party scenes forever instead of trying to have a heart at the end.

There’s a weird bit on a boat. Actually, a lot of the movie happens on a boat, which gives it this claustrophobic but fancy feeling.

The pacing is a bit jumpy. One minute they are laughing about a check, and the next, there is a very serious conversation about marriage that feels like it belongs in a different film, maybe something like Body and Soul or a heavy drama.

Small Things I Noticed

• The hats. There is one hat Marie wears that looks like a literal satellite dish. It’s incredible.
• The way they drink. No one actually finishes a drink; they just hold the glass and look fabulous.
• There is a maid character, played by Louise Beavers, who has about three lines but manages to look more sensible than everyone else in the room combined.
• The sound quality is a bit fuzzy in the version I saw, but it adds to the charm.

It’s funny how 'Pre-Code' movies like this feel more modern than movies from the 1950s. They talk about money and sex with a bluntness that disappeared for decades after the censors took over.

They aren't trying to be role models. They are just trying to survive in a city that wants to eat them alive, and they use their wits to stay on top.

I did find the ending a bit rushed. It’s like the writers realized they only had five minutes left and had to wrap up two romances and a divorce subplot all at once.

It doesn't quite land, but by then, you've seen so many cool outfits that you don't really mind. It’s a very visual experience, even in black and white.

If you enjoyed the chaotic energy of The Bride's Relations, this is definitely in that same wheelhouse of early sound-era experimentation where everything feels a little loose and wild.

Is it a masterpiece? No. But it's honest about greed, and that's more than you can say for most movies.

One reaction shot of Marie looking at a necklace lasts about three seconds too long, and you can see her almost break character and laugh. It’s those little moments that make these old movies feel alive.

Anyway, watch it for the banter. The banter is top-tier, even if the logic is a bit shaky. 🍸