Girls About Town is a pre-Code romantic comedy centered on two glamorous women who work as paid companions for wealthy businessmen, attending parties and keeping them entertained without crossing certain boundaries. The story follows Kay and Wanda as they navigate romance, friendship, and the complications of falling for the men they are meant to charm only for money. The film blends witty dialogue, sophisticated settings, and a satirical take on relationships in high society.
Genre: Romantic comedy, pre-Code comedy
Director: George Cukor
George Cukor (1899–1983) was an American film director celebrated for his deft handling of comedies and character-driven dramas. Starting in theatre, he transitioned to film in the early 1930s and became known as one of Hollywood’s great “actors’ directors,” working with stars such as Katharine Hepburn, Judy Garland, and Audrey Hepburn. Cukor directed classics including The Philadelphia Story, Gaslight, and My Fair Lady, earning a reputation for his sharp wit, elegance, and skill in balancing humor with emotional depth.
Star cast:
- Kay Francis as Wanda Howard
- Lilyan Tashman as Kay Curtis
- Eugene Pallette as Benjamin Thomas
- Alan Dinehart as Jerry Chase
- Lucile Gleason as Mrs. Benjamin Thomas
Upon release, Girls About Town was praised for its clever script, sparkling performances, and Cukor’s stylish direction. Audiences enjoyed its playful treatment of risqué subject matter, which was possible due to the looser moral restrictions of the pre-Code era. While not as widely remembered today as some of Cukor’s later works, it remains a fine example of early 1930s sophisticated comedy.
Fun facts:
- The film’s witty screenplay and glamorous costuming reflected the era’s fascination with flapper culture and Depression-era escapism.
- Kay Francis was one of the top box office draws of the early 1930s and was often cast in films showcasing her elegance and style.
- Lilyan Tashman’s sharp comedic timing and fashion sense made her a standout, and she was considered a fashion icon of her day.
- The film offers an early example of George Cukor’s gift for directing female-led stories, a hallmark of his later career.
- Pre-Code freedoms allowed the film to address themes of transactional relationships and female independence more openly than would have been possible after the Production Code was strictly enforced in 1934.
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