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Margie

Name: Margie
Director: Paul Gerard Smith, Otis Garrett
Released: 1940
Duration: 59 min

Representation Score

0.5/10

Minimal

1940

Approved

Director

Paul Gerard Smith, Otis Garrett

Runtime

59 minutes

Average Rating

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New Showbiz Analysis

Margie embodies the spirit of 1940s Hollywood, emphasizing lighthearted escapism over social critique. The narrative sticks closely to the era's standards, focusing on the professional and romantic challenges of a newlywed couple. While Margie has career aspirations, the plot's resolution depends on male-dominated structures. The film reinforces mid-century social norms without challenging them, providing a typical Hollywood comedy of the time. Diversity is limited, with the cast reflecting the homogeneous practices of the period. The story maintains the status quo of its era.

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Category Breakdown

Does Margie have LGBTQ+ representation?

Minimal

The film does not include any LGBTQ+ characters or non-assuming gender matches what was assigned at birth identities. It focuses on a conventional romantic storyline involving a newlywed couple.

How does Margie portray gender?

Limited

Margie has professional ambitions as a radio scriptwriter, but the plot revolves around a male figure securing success. The relationship dynamics follow typical comedic marital tension.

How racially and ethnically diverse is Margie?

Limited

The casting appears uniform, typical of 1940s Hollywood. Although Gomez hints at non-Anglo-Saxon heritage, the narrative centers on a Western social context.

How does Margie represent religion and culture?

Minimal

The story upholds traditional Western values and capitalist career goals. It functions as a light-hearted, escapist comedy without questioning established institutions.

Does Margie include disability representation?

Minimal

The film does not depict any visible or invisible disabilities. There are no characters shown to have physical impairments or neurodivergent traits.

Present on Screen

Margie is portrayed with professional ambitions in the radio industry.
Gomez introduces a hint of non-Anglo-Saxon heritage in the cast.

Limited or Absent

The film lacks representation for LGBTQ+ identities or non-assuming gender matches what was assigned at birth characters.
The narrative reinforces traditional gender power structures and straight-centered standards.
There is a lack of racial and ethnic diversity beyond potential stereotypes.
The story does not include characters with visible or invisible disabilities.

Official Synopsis

Newlyweds Bret (Tom Brown) and Margie (Nan Grey) both aspire to show-biz careers: he wants to be a songwriter, while she is desirous of becoming a radio scripter. Inevitably, Bret and Margie quarrel and break up, only to be reunited by their efforts to snag "banana king" Gomez (Mischa Auer) for a lucrative radio contract. The old 1920s tune "Margie" is heard throughout the proceedings, frequently fitted out with ludicrous new lyrics ("Bananas! We're Always Thikin' of Bananas!" etc.) by a zany songwriting team (Eddie Quillan and Wally Vernon).

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