IMDb RATING
6.5/10
1.2K
YOUR RATING
Lady Lee, gambler's daughter, plies her trade while pondering the proposal of a social-register suitor.Lady Lee, gambler's daughter, plies her trade while pondering the proposal of a social-register suitor.Lady Lee, gambler's daughter, plies her trade while pondering the proposal of a social-register suitor.
Enrique Acosta
- Gambler at Monte Carlo
- (uncredited)
Ernie Alexander
- Bellboy
- (uncredited)
Frank Austin
- Syndicate Board Member
- (uncredited)
William Austin
- Sargey - Fallon's Secretary
- (uncredited)
William Bailey
- Racetrack Spectator
- (uncredited)
Storyline
Did you know
- TriviaBarbara Stanwyck voiced her displeasure with working with director Archie Mayo. The director was notorious for slapping, groping, and pinching the rear ends of his leading ladies. When he tried for the first (and last) time to pinch Barbara Stanwyck's bottom, she grabbed his arm and loudly told him to cut it out.
- GoofsIn the opening visual credits, actor Arthur Vinton's character is listed as "Fallin." However, in the film, the door of his office bears the name "Fallon Investment Co."
- Quotes
Peter Madison: I'd like to contribute to this, I think.
Charlie Lang: You're on, Peter.
Peter Madison: The last of his kind, eh? An honest gambler. Here's a hundred for you.
Charlie Lang: And here's the payoff: he died broke.
- ConnectionsReferenced in Thou Shalt Not: Sex, Sin and Censorship in Pre-Code Hollywood (2008)
- SoundtracksThe Wedding March
(1843) (uncredited)
from "A Midsummer Night's Dream, Op.61"
Music by Felix Mendelssohn
Played on an organ after the wedding
Featured review
Gambling Lady (1934)
D: Archie Mayo. Barbara Stanwyck, Joel McCrea, Pat O'Brien, Claire Dodd, C. Aubrey Smith.
Not a bad romp through every cliche in the mid-depression era: tough dame from the wrong side of the tracks, kind, sympathetic crooks, useless rich people, true love between unlikely lovers, a couple of romantic triangles, tacked-on murder mystery episode, etc. Also, Stanwyck starting to show big doses of the tough-as-nails but soft-hearted street-smart operator she perfected by the time of "The Lady Eve". As always, Barbara Stanwyck is utterly fascinating to watch, talented & lovely, Stanwyck's great forte was her utter believably in any role she undertook.
Directed by Archie Mayo, Gambling Lady was, by Pre-Code standards, a tame romp into the zone where gambling syndicates and high society intersect. When an honest card sharp commits suicide rather than go crooked, his daughter Lady Lee (Stanwyck) steps into his place, winning great sums for herself (and her bosses) while keeping the game fair and square. But when handsome high society swain Garry (McCrea, looking about as good in a tuxedo as is humanly possible) steps into a game, she's smitten - not realizing that their ill-matched pairing between high and low society might be a sucker bet.
Stanwyck didn't think much of Mayo, "a rude, fat man" prone to pinching actresses' bottoms (she grabbed his arm the first - and presumably last - time he tried pinching hers). But the actress liked McCrea. He, in turn, marveled at her professionalism, and how, if a take was blown it was always because of his stumble, not hers. But she also gave him a frank lesson in professionalism the day he was absent from shooting stills of the cast. (It wasn't McCrea's fault - nobody told him about the shoot, especially the publicist who figured no one would miss an RKO actor on loan.) At lunch Stanwyck cornered McCrea. "Where the h e l l were you for stills?" When McCrea shrugged and said they didn't need him, Stanwyck gave him a tongue lashing. "I was in burlesque. We used to have to change our clothes on the train, and our makeup, and we couldn't take a bath and we lived out of a suitcase. You've grown up in California where you go to the beach on your days off and ride the waves, and you're a happy Southern Californian kid. Just get off your big fat a s s and get to work."
McCrea took her candid advice to heart, and he and Stanwyck became great friends during the filming of Gambling Lady.
Gambling Lady(1934) is definitely Art Deco in the decor and you also find Egyptian artifacts on the mantel and other places in the film These types of bric-a-brac were the rage in Hollywood at that time because of the opening of King Tut's tomb in the 1920s. You see many pieces of jewelry and statues, etc. In these 1930s films that link to the Egyptian craze back then. The clean lines of the Art Deco era are also evident in these films. Beautiful! Another excellent flick from one of the most UNcelebrated actresses of the golden age of Hollywood.
Not a bad romp through every cliche in the mid-depression era: tough dame from the wrong side of the tracks, kind, sympathetic crooks, useless rich people, true love between unlikely lovers, a couple of romantic triangles, tacked-on murder mystery episode, etc. Also, Stanwyck starting to show big doses of the tough-as-nails but soft-hearted street-smart operator she perfected by the time of "The Lady Eve". As always, Barbara Stanwyck is utterly fascinating to watch, talented & lovely, Stanwyck's great forte was her utter believably in any role she undertook.
Directed by Archie Mayo, Gambling Lady was, by Pre-Code standards, a tame romp into the zone where gambling syndicates and high society intersect. When an honest card sharp commits suicide rather than go crooked, his daughter Lady Lee (Stanwyck) steps into his place, winning great sums for herself (and her bosses) while keeping the game fair and square. But when handsome high society swain Garry (McCrea, looking about as good in a tuxedo as is humanly possible) steps into a game, she's smitten - not realizing that their ill-matched pairing between high and low society might be a sucker bet.
Stanwyck didn't think much of Mayo, "a rude, fat man" prone to pinching actresses' bottoms (she grabbed his arm the first - and presumably last - time he tried pinching hers). But the actress liked McCrea. He, in turn, marveled at her professionalism, and how, if a take was blown it was always because of his stumble, not hers. But she also gave him a frank lesson in professionalism the day he was absent from shooting stills of the cast. (It wasn't McCrea's fault - nobody told him about the shoot, especially the publicist who figured no one would miss an RKO actor on loan.) At lunch Stanwyck cornered McCrea. "Where the h e l l were you for stills?" When McCrea shrugged and said they didn't need him, Stanwyck gave him a tongue lashing. "I was in burlesque. We used to have to change our clothes on the train, and our makeup, and we couldn't take a bath and we lived out of a suitcase. You've grown up in California where you go to the beach on your days off and ride the waves, and you're a happy Southern Californian kid. Just get off your big fat a s s and get to work."
McCrea took her candid advice to heart, and he and Stanwyck became great friends during the filming of Gambling Lady.
Gambling Lady(1934) is definitely Art Deco in the decor and you also find Egyptian artifacts on the mantel and other places in the film These types of bric-a-brac were the rage in Hollywood at that time because of the opening of King Tut's tomb in the 1920s. You see many pieces of jewelry and statues, etc. In these 1930s films that link to the Egyptian craze back then. The clean lines of the Art Deco era are also evident in these films. Beautiful! Another excellent flick from one of the most UNcelebrated actresses of the golden age of Hollywood.
helpful•10
- robfollower
- Aug 2, 2020
Details
- Runtime1 hour 6 minutes
- Color
- Sound mix
- Aspect ratio
- 1.37 : 1
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