Muriel Kirkland Movies

In this handsomely-staged adaptation of the story by Emile Zola, Anna Sten plays Nana, a woman of the streets who is spotted by noted theatrical producer Gaston Greiner (Richard Bennett). Greiner is so impressed by Nana's beauty that he gives her a part in his latest revue. Almost overnight, Nana is the toast of Paris and a star of the highest magnitude; however, fame and fortune brings her little happiness, as two brothers, Lt. George Muffat (Phillips Holmes) and Col. Andre Muffat (Lionel Atwill), both vie for her affections, leading to a bitter rivalry that ends in tragedy. Russian actress Anna Sten was brought to America as a protégé of producer Samuel Goldwyn, who sought to make Sten the "next Garbo." The resounding box office failure of Nana and Sten's next two vehicles led Goldwyn to drop her contract two years after bringing her to Hollywood, though she continued to work sporadically in films for another 25 years. ~ Mark Deming, Rovi

This melodrama, with a few comic overtones, was not the finest moment for either star Bebe Daniels or director Victor Schertzinger (who also composed the music and songs). It also hasn't weathered the years well, since its male chauvinism has fallen way out of favor. In fact, to modern eyes, Randolph Scott's character, Randolph Morgan, seems like an insufferable prig when he constantly lectures his artist girlfriend Cynthia Warren (Daniels) that "you can't change the rules" -- in other words, women were meant for marriage and child-rearing, not successful careers. Whereas viewers of the day may have wondered how Daniels could have fallen for the womanizing Lawton (Sidney Blackmer, who, looks-wise, was definitely a comedown from Scott), modern audiences tend to hope she'll dump her stuffy boyfriend, whom she's left back home while she goes on an ocean voyage. But there was no women's lib in 1933, and you know that Daniels' shipboard affair is going to end badly, and that she will throw everything away to return to the maddeningly arrogant Scott. The brightest spots in the film are offered by Muriel Kirkland, as a phony Russian countess who really hails from Kansas, and her eccentric companion, Alvarez (George Nardelli). Kirkland's worldly wise persona is a lot more interesting than the character that is handed to Daniels, which is bland in spite of her go-rounds with Scott. This picture was based on the story Pearls and Emeralds by James K. McGuinness. ~ Janiss Garza, Rovi

There's nothing wrong with Hold Your Man that a little editing wouldn't cure. Clark Gable plays a raffish young petty crook who hides out in hard-boiled Jean Harlow's apartment after he pulls off a robbery. Harlow enjoys Gable's company, and soon the two are living together. Gable puts his criminal career on hold for a while, but when Harlow, jealous of her boy friend's womanizing, fabricates a romance with "wealthy" laundry owner Paul Hurst, Gable decides to knock over Hurst's establishment. Hurst is accidentally killed, whereupon Gable runs off to parts unknown, leaving Harlow to take the rap. While in prison, Harlow discovers she's pregnant with Gable's baby. The conscience-stricken Gable tries to fix things by sneaking into prison and hastily marrying Harlow. By coming out of hiding, Gable allows himself to be arrested, but Harlow promises to wait for him. Hold Your Man starts out as an acerbic "sez you" comedy-drama, then bogs down into a big pile of sentimental goo (a common problem with MGM films of the early 1930). Still, the first few reels are infinitely entertaining, thanks to the chemistry between Clark Gable and Jean Harlow. ~ Hal Erickson, Rovi

This story centers around a love triangle between two construction workers and a girl. The film climaxes with a fight on top of a skyscraper. The story is based on a play called Rivets. ~ Sandra Brennan, Rovi