Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Starting off with a bit of perhaps heresy to some, I have never understood the appeal of Janet Gaynor, and this did not help. However, though the long-shot and quirkiest character here, hers was the lucky ticket that paid off. It is interesting to see the former box-office dominating Bennett underbilled to Loretta Young, whose star was on the rise. They say Ms. Young's fan mail always abounded, something the execs kept a close eye on. Despite that, she has a thankless part here, the heir apparent to the young nobleman's second billing, having already been aligned with a worthy marriage candidate, likely by family design. With Young's character, he was shopping for the extracurricular interest in advance. However, it's more the personality type chosen for this character that did not fit Ms. Young, who seemed off balance playing off balance, being more effective as a more self-assured type. Ms. Bennett had the best part and did well enough. The screenwriter(s) did not play true to type and time here in that they only rewarded one of the three young hopefuls, the other two left to gracefully bow out of the venture at the end, perhaps some the wiser. The production values along with interesting players form the lifeline of this one, the script needing recessitation from the beginning, but never receiving it.

This is an interesting 1936 film starring Constance Bennett, Janet Gaynor, Loretta Young, Paul Lukas, Don Ameche, and Tyrone Power. Set in Budapest, it concerns three young women who get an apartment together. All wish for love and happiness but soon learn that the course of true love never does run smooth.And neither does the course of stardom, as the featured stars in this film would soon be replaced by a younger crowd. The Bennett-Lukas affair and Gaynor's adventures with Don Ameche and her magician boss take center stage, while Loretta Young's romance with Tyrone Power gets short shrift. The film provides an excellent showcase for Don Ameche, Power, and Young, all of whom would take over the star roster at Fox within the next two years. Power is flawlessly gorgeous and is delightful with Young. This obviously was not lost on 20th Century Fox as the studio would star the two in four films over the next three years. Bennett and Gaynor were two very early stars, and by 1941, Bennett was doing second leads; Gaynor (who was dating Power) had her last steady work in films in 1938."Ladies in Love" has a great feel to it with its Budapest background, European-based stories being so popular in the '30s, and there are some wonderful performances. Bennett is beautiful and glamorous as the one who's been around the block and Gaynor petite and lively as she carries on a love/hate relationship with Ameche.Simone Simon has a role as a kittenish young woman who arrives at Lukas' apartment as a cousin by marriage. She looks like she's about 16, but in reality, the actress was 25. However, she is playing someone who is in school, and I found her relationship with Lukas a little disconcerting. She was probably supposed to be 18.All in all, an entertaining film signaling a changing of the guard at Fox.

Just an addition to other comments; this film while definitely Hollywood has a European feel to it. There is a definite desperate,cynical air to it that would make you think it's director was a continental director transplanted to the US. I checked and Griffith is from Virginia. However, he was educated in Europe-this of course proves nothing but maybe he was influenced by familiarity with European film. Anyway this "feel" I get from the film makes it more interesting to me. But whatever it is worth seeing just for the great cast!

An early example of Darryl Zanuck's favorite formula: three young ladies share an apartment [see THREE BLIND MICE, MOON OVER MIAMI, HOW TO MARRY A MILLIONAIRE, THREE COINS IN THE FOUNTAIN, THE BEST OF EVERYTHING]. This time the setting for their various romantic difficulties is Budapest. Squeaky-voiced Janet Gaynor gets top billing as a poor girl who hawks neckties on streetcorners but also feeds rabbits for young doctor Don Ameche and still has time to perform valet duty for self-absorbed magician Alan Mowbray. Over-eager Loretta Young, on the other hand, obsesses over wealthy nobleman Tyrone Power. As a sophisticated gold-digger, Constance Bennett has the best role, allowing her to underplay effectively. Her plot thread involves an affair with wealthy Paul Lukas, complicated by the unexpected arrival of Simone Simon [who is introduced as a nymphet in a sailor suit]. With all these comic/romantic/tragic ingredients [poison is also involved], this stew is not completely digestible. However, despite awkward shifts in tone and rather flat lighting, it remains interesting as a showcase for a variety of film personalities, some on the rise and some not. Ironically, the most striking performance comes from a subsidiary character: Wilfrid Lawson, who implies an entire world of sophistication in his few scenes as an aging playboy.