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6.3/10
Senior Film Conservator
A definitive 6.3/10 rating for a film that redefined the boundaries of cult cinema. The Richest Girl in the World remains a cornerstone of transgressive art.
If you have a soft spot for 1930s romantic comedies where everyone speaks in crisp, clipped sentences, then yes, absolutely. If you find the whole 'heiress in distress' bit a little too tired or if you need your movies to have, like, actual stakes, you might want to skip this one.
Miriam Hopkins is doing a lot of heavy lifting here. She has this way of looking at a man that suggests she’s already figured out his entire deal before he’s even finished his first sentence. It’s a fun performance, honestly.
The whole 'switching places' thing is a bit of a stretch, even for 1934. You’re telling me no one recognizes the most famous heiress in the world just because she put on a different hat? Okay, sure. We’ll go with it. It reminds me a bit of the frantic energy in The Impostor, though this is definitely lighter on the nerves.
There’s a scene where the male lead, Joel McCrea, is just trying to navigate this weird social dance, and you can see him thinking, wait, why is she acting like this? It’s kind of funny. He plays the 'confused guy' role perfectly, mostly just standing there looking handsome and a little bewildered.
The pacing is snappy, which is nice. It doesn’t overstay its welcome. It doesn't try to be The Story of Temple Drake, and thank goodness for that. It’s just a breezy little thing that exists to get you from point A to point B without making you think too hard about the economy or whatever.
Odd observation: There’s a background actor in one of the lobby scenes who keeps checking his watch like he’s got a bus to catch. It’s distracting, but I couldn't stop looking at him every time the camera cut back to that wide shot. He’s the most realistic person in the whole building.
The dialogue has that snappy, rapid-fire quality that people probably didn't actually use in real life, but it sounds nice on screen. It’s not as chaotic as Harem Follies, but it gets the job done. I think I liked it more because it didn't pretend to be some high-art masterpiece.
It’s not perfect. The middle section sags a bit when they’re stuck in that hotel, and you start wishing they’d just get to the point already. But then Hopkins does something with her eyebrows, and you’re back in it. 🤷♂️
If you’re looking for something to watch on a rainy Sunday when you don’t want to be challenged, this is it. It’s like a warm cup of tea that’s gone slightly lukewarm but is still comforting anyway.
IMDb —
1923
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