Behind Office Doors (1931)

Working hard for aging boss Charles Sellon (who is too old to notice the legs crossed as she takes dictation), Mary Astor is devoted to her job and in love with second in charge Robert Ames. He barely notices her so she accepts the affections of suave Ricardo Cortez who unfortunately is married (although separated for years) but not willing to try to get a divorce. When life-threatening ailments cause Sellon to suddenly retire, Astor and Ames begin to spend more time together, and she is disturbed by his hiring a dim-witted assistant for her. Astor proves she is "Johnny on the spot" (like Julie Andrews' Millie) in keeping the office and Ames' home in order, so when Ames suddenly announces his engagement to wealthy socialite Catherine Dale Owen, Astor is naturally hurt and decides to resign. But the lack of finding a good replacement after firing the incompetent Edna Murphy makes Ames desperate, and when Mary finds out, she makes one last effort to win him over. But is falling in love with the boss worth it? In depression era, pre-code times it was, and more often than not, unless their boss was Clarence Wilson, the heroine did.It's Mary Astor's film all the way, playing a very noble character who still won't put up with the dizzy antics of the ridiculous Murphy who storms into boss Ames' office against Astor's orders on her very first day. When she throws her newly purchased negligee in Astor's face, you might think that something like this could never happen. Certainly, in this politically correct, office politics rule era, it would be unthinkable, but the dark days of the depression saw some young women using what they had to get ahead. Remember that the early 1930's were pre-code, delightfully un-P.C. with female characters telling other females things such as "As long as there are streets, you'll have a job!" Murphy is even dumber than the character of Hedy LaRue in "How to Succeed in Business Without Really Trying", but in her case, it's How to succeed in the boss's bedroom without really stripping".Frankly, I didn't see any qualities in Ames which would make sense for Mary Astor to fall in love with him. He's a drunken bore, prone to office hang-overs, even after coming in late, and while Cortez is married, it is apparent that after a time, he would divorce his wife to marry Astor. Sellon, a delightful old character actor, is given several zippy scenes, while Owen, as the seemingly sweet daughter of the firm's banking representative, shows claws when she realizes what she's up against with Astor. Kitty Kelly (not related to the notorious tell-all biographer) also adds spark as Mary's free-spirited pal who throws a great "truth or dare" party where Astor and Cortez are thrown together in a rather risqué bedroom scene where they actually sit on the bed. This is a fun pre-code drama which if you take away the whole personal business in the office business world, you can enjoy for an era of political incorrectness and personal sexual freedom that doesn't exist anymore.

At a New York party, bright and attractive secretary Mary Astor (as Mary Linden) has fun with wealthy and attractive Ricardo Cortez (as Ronnie Wales). The two seem like an ideal couple, but Mr. Cortez is married and can't get a divorce. Besides, Ms. Astor has set her sights on playboy businessman Robert Ames (as James "Jim" Duneen). When her boss retires, Astor recommends Mr. Ames as replacement. Ames is up for the job as head of the paper distributing company where they work. Astor continues as the president's secretary and Ames shows little interest in her sexually. Instead, he beds trampy job applicant Edna Murphy (as Daisy Presby) and proposes to snobby heiress Catherine Dale Owen (as Ellen Robinson). Astor must consider drastic actions to win her man. "Behind Office Doors" is a dated, but gamely presented early talking picture; however, this doesn't combine in a way that makes it very engaging.**** Behind Office Doors (3/15/31) Melville Brown ~ Mary Astor, Robert Ames, Ricardo Cortez, Edna Murphy

I know I have seen this film before or at least one very, very similar to this. However, for once, IMDb is of no help at all using its keywords and it shows nothing in regard to movie connections. If you know what the remake for this was titled, let me know.For those who don't know what the term "Pre-Code" refers to, this is a film made mostly in the early 1930s--up to 1934. While there was a Production Code that supposedly controlled inappropriate content in American films, it was rarely enforced and the films of this era were occasionally very risqué--even by today's standards. While the films following the adoption of a strengthened Code in 1934 were quite tame, pre-code films had some shocking moments such as nudity (yes, Grandpa and Grandma were NOT as prudish as you'd imagine), adultery, homosexuality and cursing. And, occasionally sin was not just condoned but was rewarded by the end of the film! "Behind Office Doors" is clearly a pre-code film in its sensibilities--though it's not as shocking as "Red-Headed Woman" (but what is?!). The film features some adulterous situations, 'free love', a man smacking a woman on the rear (plus she isn't his wife), sexy lingerie, a smart and conniving career girl who smokes and drinks and likes men (Mary Astor), references to hashish, wild parties and lots of sexually-charged banter! However, and this is very odd, but midway through the film the pre-code trashy elements mostly disappear. The resulting film is very good but had one glaring problem that irritated me a tiny bit.The film begins with Astor meeting a handsome guy (Ricardo Cortez). He is instantly smitten with her, but her mind is focused on an executive at work (Robert Ames). Plus, she learns that Cortez is already married. For much of the movie, Mary works to make the man she's infatuated with (Ames) and pulls strings to make him successful. Oddly, despite being successful, Ames is a bit of an idiot. First, he doesn't recognize all the times Astor manipulates him to make him a success. Second, she's pretty and devoted--but the fool doesn't appreciate her or recognize that she loves him. In many ways, Astor is quite the sap and Ames clearly doesn't deserve her. Even when it's obvious Ames is chasing other women, Astor hold out hope that somehow he'll recognize her and marry her. In fact, I had a hard time loving the film because Ames just wasn't worth it--I wanted to see her find someone other than him or Cortez! The film truly is the ultimate in self-sacrifice and as a result Astor is a human doormat--too much so. Still, despite this, the film is well made, entertaining and worth seeing--I just wished they'd made the relationship between Ames and Astor less one-sided and ridiculous.By the way, my favorite line in the film was "You don't love me for my body alone...". Now THAT'S pre-code!

I tivo'd this on Turner Classic just because it was pre-code and sounded interesting. When I got around to watching, I noticed that the "critique" gave it one and a half stars on a four-star scale. I started watching with trepidation -- even old movies can be bad movies -- but I quickly got engaged in the story and Mary Astor's performance as the business brains behind a simple salesman's rise to success. Not a truly great movie -- too predictable -- but certainly better than advertised. And I would have liked to have seen more of Ricardo Cortez as the man who appreciates Mary but won't give up his wealthy wife. I'd recommend giving it a look just to appreciate Astor and what a long way we've come, baby.