You might think that one of those early 1930s 'women's films' about a girl who marries the wrong man is not for you? Don't think that - this is brilliant! OK, essentially it is just a trashy soap but it's fantastic - honestly!

So why would a Cagney fan watch this? It's made for women, it's written by a woman, directed by a woman and staring THE woman of the 1930s. This isn't the usual type of movie I'd consider watching but because I'm weirdly infatuated with Claudette Colbert I gave it a go. So glad I did! It might be because I wasn't expecting much but I found this absolutely enthralling.

For a film made in 1931, it's extraordinarily well made and the acting is outstanding. We've got none of that theatrical, silent movie type over-gesturing or gazing wistfully into the camera which plagued many early 1930s pictures - this has naturalistic acting and realistic, believable real characters.

The story is nothing original - a pretty girl, chased by two men marries the wrong one. It's not however a sickly sweet romantic melodrama (like one of those mushy Kay Francis films), no, this works so well because its two leads are so utterly real and likeable. You become totally engaged with the romantic dilemmas and emotional traumas of Colbert and March. They're both so natural and real, avoiding the usual clichéd stereotypes.

Claudette Colbert is dazzling, her perfectly well developed character is flirty and bubbly but also sensible and intelligent. Fredric March, playing a millionaire isn't the usual over entitled cad, he's charming and suave but he's also sensitive and a genuinely really nice guy. Dorothy Arzner's supporting cast also give refreshingly proper performances as well portraying real people: Charlie Ruggles plays his usual inebriated friend and Ginger Rogers, still in her 'Betty Boop' phase is fun.

This has a much more modern feel to it than a lot of early 30s films whilst still retaining that naive charm of the era. It's 100% entertaining.

"I've been taking care of myself. Trying to recapture my lost youth. Exercise, you know? Seven beautiful thoughts before breakfast, bursting into song at unexpected moments. I'm a changed man."

Claudette Colbert is absolutely gorgeous and she plays her scenes of emotional conflict well, but the story has too many unpleasant aspects to truly like this film. Frederic March is an alpha businessman carrying on with a lot of women with no intentions of marrying (he calls the institution "bunk"). He puts the moves on his secretary (Colbert) and when she resists, he goes off to screw someone else for hours, missing an entire football game in the process. He can't stop thinking about his secretary, however, so Monday morning he says he'll marry her if it means that much to her, but when she informs him that she just got married (to a stock broker played by Monroe Owsley), he fires her on the spot despite her stellar performance in the office. And this, naturally, is ultimately going go to be the protagonist, helped along by his impossible-to-believe transformation and an all-too-convenient implosion from the stock broker.

Had it gone in a different direction at a few moments in the story, including late when a somewhat surprising event occurs, it could have been brilliant, but the film plays it safe, and didn't really feel pre-Code. The virtuous woman never gives in to premarital sex, the womanizing alpha male should have been her choice all along because he's successful and can be trusted to do the right thing (ha!), and divorce is justified by an avalanche of reprehensible things the husband does. These are cartoon characters. On top of it, the small part of a dimwitted woman (Ginger Rogers, argh) is spoken to like a child each time she's on the screen. But hey, it's worth seeing for Colbert.

Owsley, who was the second male lead in Honor Among Lovers (HAL), is little known and seldom remembered today. Too bad, because he had a special acting talent that enabled him (like in HAL) to convincingly play both straight "good guys" and edgy "bad guys" at one and the same time. In the 1940s, that skill was also represented by several roles created by the young Vincent Price. Owsley could project menace quite easily, and you were never sure exactly what he was going to do next. The famous film historian Lawrence J. Quirk best described Owsley as " a brilliant actor who died early in life (and) had in common with another goose-pimply-grater, Dwight Frye, an ability to make the collective audience's hair stand on end. He came on with a sandpaper-oozy-with-glue repellence that perfectly contrasted with the handsome profiles and bejeweled shapelies around him." In HAL, Owsley certainly provided a clear distinction to the matinee-idol like appearance of stalwart Fredric March in one of his entertaining early leading man roles. And strange as it may now seem, Owsley gave us a performance in HAL that made it seem plausible to believe that he and Claudette Colbert (in only her eighth movie) could end up as a real married couple in the film!

HAL's dense plot and curious title are pretty much irrelevant when considered by today's audiences. However, contemporary viewers of HAL will be almost immediately struck by its pre-code references to pre-marital sex, workplace sexual harassment, marital physical violence and adultery that were made without batting an eyelash! The early feminist director Dorothy Arzner kept the proceeding moving at a brisk pace, and enabled March and Colbert to look quite handsome, beautiful, and charming.

While HAL is not a particularly memorable film, it does stand out as a cinematic record that captures March, Colbert, Owsley and director Arzner at the dawn of their noteworthy movie careers. While Owsley and Arzner soon faded into obscurity, March and Colbert would shortly become very significant in Hollywood and emerge as film stars of the very first rank for many years to come.

One last word about the long forgotten Monroe Owsley. Quirk in his illustrated biography of Claudette Colbert stated that Owsley was given a rather unflattering nickname by his fellow colleagues "because his sadistic treatment of the fair sex on screen .....came off as serpentinely evil.". While that may be a harsh way to refer to a fine actor's rather unique talents, it does remind us of just how remarkable and varied the roster of performers was during the Golden Age of Hollywood.