
What Scoundrels Men Are!
1932

1938
NRDirector
Henry Koster
Runtime
78 minutes
Average Rating
No ratings yetSynopsis
Nicole has no job and is several weeks behind with her rent. Her solution to her problems is to try and snare a rich husband. Enlisting the help of her friend Gloria and the maitre'd at a ritzy New York City hotel, the trio plot to have Gloria catch the eye of Bill Duncan, a millionaire staying at the hotel. The plan works and the two quickly become engaged. Nicole's plan may be thwarted by Bill's friend, Jim Trevor, who's met Nicole before and sees through her plot.
Overall Score
Minimal
Category Breakdown
LGBTQ+ Representation
The film lacks any discernible presence of non-heteronormative identities. The romantic focus is strictly centered on traditional heterosexual courtship.
Gender Representation
Female protagonists exhibit agency through tactical plotting to secure financial stability. However, this agency is channeled toward the conventional goal of marriage to wealthy men.
Racial & Ethnic Diversity
The film depicts a largely homogeneous social environment. There is no evidence of significant racial or ethnic diversity within the central cast or social circles.
Religious & Cultural Diversity
The narrative emphasizes traditional Western social values and class standing. It focuses on navigating high-society institutions to achieve personal security.
Disability Representation
There are no visible or invisible disabilities portrayed within the primary character arcs or the supporting cast.
Strengths
Areas for Improvement
AI Analysis
The film functions as a quintessential 1930s romantic comedy, prioritizing established social hierarchies and traditional archetypes. It operates within the existing cultural and gendered frameworks of its era without attempting to subvert them. The narrative relies on the pursuit of socioeconomic stability through marriage. While women show tactical intelligence, their goals remain tethered to patriarchal structures and conventional romantic expectations. Ultimately, the work reinforces the status quo. The lack of intersectional complexity reflects the standard production values of 1938, presenting a homogeneous view of Western socialites.

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