An elderly woman nicknamed 'Apple Annie' (May Robson) ekes out a living during the Depression by selling apples in the street. Aside from being old and poor, she's had a child (presumably out of wedlock), a young woman now in Europe who doesn't even know of her destitution. In fact, Annie deceives her by writing letters on a fancy hotel's stationary to make it seem like she's a society woman. Conflict comes when the young woman plans to come home with her affluent Spanish fiancé and his father, a traditional man who wants to check up on her family before approving of their marriage. Annie has a benefactor though, the crime boss "Dave the Dude" (Warren William) who superstitiously believes that her apples bring him luck. It's up to The Dude to make her a "lady for a day" so that her daughter's plans aren't spoiled.
Having a group of people all set aside their own concerns to help someone out is of course a common theme of Capra's, and in this case, the story's link which connects Dave the Dude and his gang to Annie is a bit tenuous. What makes the film entertaining is its characters more than its plot, starting with Annie herself. Robson was 75 when the film was released, and it warms the heart to see her in a leading role. I also loved the Dude's hardboiled lieutenant (Ned Sparks), who deadpans a lot of funny lines, and Guy Kibbee, who plays a pool shark in one of the best roles I've seen him in. Lastly it's funny to see Nat Pendleton go from dim-witted underling to sounding like a Hollywood director as he tries to get a group of criminals prepared to act like aristocrats. "Put a little ginger into it," he shouts.
Less utilized is Glenda Farrell, who performs a brief number at the beginning to establish her character as a nightclub singer. Jean Parker and Barry Norton, who play the young lovers, also have small parts, though the kissing scene they have under the garden waterfall is sweet, and reminiscent of Harlow and Robert Williams in Capra's 'Platinum Blonde' from two years earlier.
As in all of his films, there is a good dose of humanity. One scene that brings a chuckle is watching the governor, mayor, and police captain all pass pressure down the chain of command when a crime needs solving. In classic Capra fashion, he'll show them all congenial and understanding one another better after spending some time together. Also watch the scene early on as Annie is listening to classical music while trying to pen a letter to her daughter; Capra cuts to tight shots on those in adjacent dwellings, listening intently, until one quietly says "I just love Annie's music." Is this a humanizing view of the down and out people of the Depression, who have a gramophone (somewhat surprisingly) and appreciate culture? Is it a dignified view Depression-era audiences wanted to project of themselves, despite their worries and financial problems? Or is Capra just casting a rosy hue over humanity and imagining the best of people? Perhaps it's a little of all three. The film is not his best work or perfect by any means, but it's entertaining, and a pretty well-told story.
Having a group of people all set aside their own concerns to help someone out is of course a common theme of Capra's, and in this case, the story's link which connects Dave the Dude and his gang to Annie is a bit tenuous. What makes the film entertaining is its characters more than its plot, starting with Annie herself. Robson was 75 when the film was released, and it warms the heart to see her in a leading role. I also loved the Dude's hardboiled lieutenant (Ned Sparks), who deadpans a lot of funny lines, and Guy Kibbee, who plays a pool shark in one of the best roles I've seen him in. Lastly it's funny to see Nat Pendleton go from dim-witted underling to sounding like a Hollywood director as he tries to get a group of criminals prepared to act like aristocrats. "Put a little ginger into it," he shouts.
Less utilized is Glenda Farrell, who performs a brief number at the beginning to establish her character as a nightclub singer. Jean Parker and Barry Norton, who play the young lovers, also have small parts, though the kissing scene they have under the garden waterfall is sweet, and reminiscent of Harlow and Robert Williams in Capra's 'Platinum Blonde' from two years earlier.
As in all of his films, there is a good dose of humanity. One scene that brings a chuckle is watching the governor, mayor, and police captain all pass pressure down the chain of command when a crime needs solving. In classic Capra fashion, he'll show them all congenial and understanding one another better after spending some time together. Also watch the scene early on as Annie is listening to classical music while trying to pen a letter to her daughter; Capra cuts to tight shots on those in adjacent dwellings, listening intently, until one quietly says "I just love Annie's music." Is this a humanizing view of the down and out people of the Depression, who have a gramophone (somewhat surprisingly) and appreciate culture? Is it a dignified view Depression-era audiences wanted to project of themselves, despite their worries and financial problems? Or is Capra just casting a rosy hue over humanity and imagining the best of people? Perhaps it's a little of all three. The film is not his best work or perfect by any means, but it's entertaining, and a pretty well-told story.