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6.4/10
Senior Film Conservator
A definitive 6.4/10 rating for a film that redefined the boundaries of cult cinema. Peach O'Reno remains a cornerstone of transgressive art.
So, Peach O'Reno. What a ride. If you're a die-hard fan of old-school, no-holds-barred screwball comedies from the early 30s, the kind where everyone talks a mile a minute and plots are just an excuse for chaos, then yeah, you might get a kick out of this. Others looking for something more grounded? Probably best to skip it. This one is pure, unadulterated silliness, and it doesn't apologize.
The whole thing kicks off with Joe and Aggie Bruno, celebrating their 25th anniversary. Or, well, trying to. They have a big ol' spat, decide to call it quits, and both head off to Reno for a quickie divorce. Classic setup, right? Their daughters, Prudence and Pansy, follow along, desperate to play matchmakers and get their parents back together. Bless their hearts. ❤️
Now, this is where things get truly bonkers. Joe and Aggie somehow end up with the same law firm, Wattles and Swift. Like, out of all the lawyers in Reno, they pick the same one. Wattles and Swift are supposedly "the biggest and most successful," which I guess explains why they're so busy they can't keep their clients straight. It's a classic case of convenience for maximum comedic potential, no real logic required.
The rival firm, Jackson, Jackson, Jackson and Jackson, also shows up. Yeah, four Jacksons. One of them even gets appointed judge mid-story. You just know this is going to be messy. They've started a "price war," which feels like a very modern concept for a 1930s film. 💸 It adds another layer of absurdity to the legal proceedings.
Then there's Ace Crosby. Oh, Ace Crosby. This guy's ex-wife got her divorce with help from Wattles and Swift, and he’s sworn to shoot Wattles. He means it, too. He just hangs around, waiting for his chance. It’s such a wonderfully specific, slightly deranged subplot.
Wattles himself, played by Robert Woolsey, is the real star here, I think. He's a whirlwind. At one point, he disguises himself as "widow Hanover" to be Joe's co-respondent. A woman! You just have to see it. It's so obviously him, but the movie just leans into it. This is where the film really shines, in these completely absurd moments.
The office, for some reason, turns into a casino. Crosby, still lurking, starts winning big at poker. Wattles tries to lure him away, especially after Aggie spots Wattles and Joe together. This entire sequence is a blur of mistaken identity and quick exits. It’s hard to keep track of who’s where and why, but you just go with it.
Aggie, after a chat with Judge Jackson (one of the many, I presume), finds out about the shared law firm. She switches to Jackson, Jackson, Jackson and Jackson. Right after Wattles' disguise falls apart, naturally. Crosby's attempt to shoot Wattles also goes sideways around this time. It's a lot of things happening all at once. 😵💫
Meanwhile, the Bruno daughters, Prudence and Pansy, are busy falling for the lawyers. Not their parents' lawyers, but the lawyers. It's another tangled thread in this already complicated tapestry. They're trying to stop the divorce, but also finding romance amidst the chaos. It’s a bit sweet, actually, in a strange way.
The climax is this wild court session. It’s just... everything. Everyone is there, all the tricks come out. It’s less about legal procedure and more about pure theatrical pandemonium. The movie doesn't really care about the law, just the laughs. And it gets them, mostly.
Honestly, the pacing of the film is relentless. It moves from one crazy situation to the next without much breathing room. Some bits feel a little too rushed, like they just wanted to get to the next gag. But it keeps you on your toes. You can't look away, even if you sometimes wonder how they got from point A to point C so fast.
The dialogue is snappy, typical for the era. Everyone is witty, or at least tries to be. Sometimes it works, sometimes it feels a bit forced. But hey, it's a screwball. That's part of the charm. There's a particular line from one of the Jacksons about "competitive pricing" that just made me chuckle. It felt so out of place, yet perfectly in place, if that makes sense.
Overall, Peach O'Reno is a curio. It’s a specific taste. If you enjoy movies where plot is secondary to character antics and rapid-fire gags, you might enjoy the ride. It’s not profound, it’s not particularly deep. It’s just a lot of noise and fun. 🤷♀️
You know, there’s this one shot of Wattles trying to sneak past Crosby that lasts maybe a second too long, and you can practically hear the director yelling "cut!" It's these little imperfections that make it feel so human, so real. Not every moment is polished, and that's okay.
It’s definitely a product of its time. The humor is broad, the situations are exaggerated. If you're a fan of Bert Wheeler and Robert Woolsey, who were a popular comedy duo, you'll probably appreciate their energy here. They really carry the film. Without them, it might just be too much. But with them, it’s a joyful mess.
This film won't change your life, but it might give you a good chuckle or two. Especially if you're into the weird, wild side of early Hollywood comedies. It’s a bit of a forgotten gem, or at least a forgotten very shiny rock in the pile. ✨
IMDb 4.7
1928
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