Perfect cast and a good story

it is the rare 'crazy' movie that actually has something to say.

Amazing worth wacthing. So good. Biased but well made with many good points.

Blistering performances.

One Sunday Afternoon (1933) is a rather slow, uninteresting effort. While I adore Fay Wray and Gary Cooper, neither is allowed to do much here. Cooper's main character is rather boorish and unlikable, so dumb that you can hardly root for or sympathize with him. You could argue that this is intentional, but I don't get the feeling that it is: during the finale when Cooper is supposed to see the light so to speak, I don't feel triumphant for him or his wife. I'm not even sure he really ever loved her or will love her-- he's just happy his wife isn't a shrew or a tramp! Wray gets to chew the scenery a little in the third act, but otherwise, she is wasted.The plot just rattles along from plot point to plot point. You're better served with the 1941 remake starring James Cagney and Rita Hayworth, which had a much lighter atmosphere and better pacing, plus the main character does not come across as such a lout.

Finally caught this one on TCM as part of my unhealthy quest to see every Fay Wray film possible. Not a bad little story, but nothing spectacular. Very cool to see Neil Hamilton in his early days, and Gary Cooper and Frances Fuller were equally interesting. Fay is not really on screen much which was disappointing, but then she steals the show at the end by channeling Mae West. What a treat this was! The direction was fine with some really cool moving camera work in the opening scene. This seemed to be a trend in the early 1930's to have a really cool moving camera shot to open the film, but then fade into standard static setups thereafter.Overall worth a look for the performances of Cooper and Fay Wray or if you just want to see what Batman's Commissioner Gordon looked like in his younger days. Otherwise, it's pretty routine.

The exposition that takes place in a dentist's office, before the flashback that constitutes the major part of this film, seemed rather long to me. And the main character, Biff Grimes (Gary Cooper), seemed to be the least likable. So, I thought this film was going to be a drag.But as the story develops, one learns that Biff, though a dense, insensitive lout, has an interesting story to tell. And the first part of the film is necessary to fully appreciate what follows.I have always felt that Gary Cooper is best suited for characters that are socially awkward. Biff is just such a role. Cooper is surrounded by actors who outshine him at times. But they form a solid ensemble for this adapted play (that would be remade two more times in the forties). Fay Wray, in particular, amazes with her transformations throughout the film.This plot is a simple story about revenge that no doubt pleased audiences of the depression era who looked to champion the common man.

The film begins in a dental office, as the dentist, Biff (Gary Cooper), talks to a friend (Roscoe Karns) about this relationship with Hugo (Neil Hamilton) back in the Gay 90s when they had been friends. This is instigated when Hugo comes to the office and sees Biff for the first time in decades. Hugo needs a tooth pulled and while he is sedated with gas, Biff recalls their past when they were both ardently pursuing a pretty young lady (Fay Wray)--while pretty much ignoring her more plain but much sweeter friend (Frances Fuller). Through the course of the film, Hugo stabs his supposed friend in the back again and again.This movie is the original--with remakes in 1941 (THE STRAWBERRY BLONDE) and 1948 (ONE Sunday AFTERNOON). While I rarely prefer remakes, I must say that the 1941 version is much more watchable and fun. Part of this is because the 1933 version is so very, very quiet--with very little music to help set the mood. Also, the whole mood of the 1933 film is more somber and the story a bit more direct and "bare bones" in style. Also, while I like Gary Cooper films, for a comedy like this one, Cagney was better and the supporting actors he had were also superior and gave THE STRAWBERRY BLONDE so much more energy. This film is still well worth seeing, but the 1941 film has a more polished plot, better characters and the full Warner Brothers package (wonderful and first-rate production values) that this Paramount film lacks.