A lot of fun.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

I always watch Robert Taylor in memory of my mother; she loved him. This film is a Taylor-Harlow pairing, "Personal Property," a watered-down version of the play, and the first time it was made, it was a precode film, A Man of Possession.Taylor is Raymond Dabney, the black sheep in a successful family, all of whom are British except for him, evidently, as he sports no accent. He's been released early from prison after selling a car he didn't own. His brother Claude (Reginald Owen) and father (E.E. Clive) aren't happy to see him, unlike his mother, so they offer Raymond 300 pounds to go anywhere he wants, preferably out of the country. Raymond chooses London.At a cocktail lounge, Raymond meets Crystal Wetherby (Harlow), a widow. Raymond is interested and follows her to the opera Aida, and then he follows her home. At her home, he meets a bailiff who is going to sit in Crystal's house until she pays what she owes.Crystal is throwing a dinner for her fiancé and future in-laws; Raymond kindly offers to pretend to be her butler. When the future family shows up, a few problems present themselves.Jean Harlow was always very likable, although here, she's a little more low-key. She wears her engagement ring from William Powell throughout the film; it's sad that her life was cut so short. I thought Taylor was just fine. He had a nice sense of comedy. But I have to agree with some others that the role would have been better suited to Franchot Tone or Cary Grant. Taylor was a beautiful man, and he looked great in evening clothes, but he was a farm boy at heart and didn't have quite the sophistication necessary.I found this film slow and not very involving, but I loved the two stars.

PERSONAL PROPERTY (Metro-Goldwyn-Mayer, 1937), directed by W.S.Van Dyke, stars Jean Harlow in one of her final screen performances before her untimely death later in the year. In her only comedy, in fact, only movie role opposite then rising leading man, Robert Taylor. It was also a remake of MGM's earlier carnation titled THE MAN OF POSSESSION (1931) starring Robert Montgomery and Irene Purcell in the Taylor and Harlow roles. While each have aired on Turner Classic Movies for comparison, both are forgotten comedies with the latter noteworthy only for the screen presence of Jean Harlow alone. Taylor plays Raymond Dabney, son of an accomplished British family. Having served a jail sentence for selling a car without having paid for it, and now released early for good behavior, Raymond, greeted by his loving mother (Henrietta Crosman), doesn't get the same reception from his serious minded brother, Claude (Reginald Owen), partners with his father (E.E. Clive) in women's underwear. With both men disowning him as part of the family, Raymond is offered 300 pounds to go far away as possible and start life anew, possibly in Canada or Australia, but he would rather remain in London instead. Later, while at a cocktail lounge, Raymond meets Crystal Wetherby (Jean Harlow), an American widow of a big game hunter. Impressed by her beauty, Raymond, after making a bad impression, follows her to the opera and seats himself beside her during a performance of "Aida." If that's not enough, Raymond follows her home after the performance. Through arrangements by Herbert Jenkins (Forrester Harvey), a bailiff working for the sheriff whose wife is in the hospital expecting a baby, Raymond gets his opportunity by taking his place and legally entering as well as staying in Crystal's mansion as a "man in possession," a custodian of her possessions until the debts of her personal property have been paid. Due to her upcoming dinner plans to entertain her fiancé and future in-laws, Raymond agrees to assist her by acting the role of Ferguson, her butler. All goes well until Raymond meets Crystal's guests, who turn out to be more than familiar faces from his questionable past.With the plot being centered more on Robert Taylor's character than Harlow's, both become equally balanced by the midway point. PERSONAL PROPERTY does has some funny scenes. While, Hugh Mills and Ernest Vadja, who scripted this story from the play by H.M. Harwood, make every effort by turning this into an honest effort of hilarious drawing room comedy, the final results are simply average, no more, no less. One truly funny moment occurs with the arrival of mumbling British bore (Barnett Parker) and his confused exchange with Taylor. This great scene was later clipped into a 1964 documentary, MGM'S BIG PARADE OF COMEDY, which indicates others have felt this a highlight as well. Very brief, but good. A pity there weren't enough great scenes like it to make up for some rather weak material. Another problem with PERSONAL PROPERTY is that Taylor acts and looks too American to play the part of a British family. Taylor's butler and Harlow's rich girl gimmick is an obvious attempt to bring forth another MY MAN GODFREY (1936) that served William Powell and Carole Lombard so well, though not on the same level. Cora Witherspoon, who previously enacted opposite Harlow in the hilarious LIBELED LADY (1936) as Mrs. Burns-Norvell, the gabby mother, assumes similar chores here, this time simply as Mrs. Burns, with Marla Shelton as her flirtatious daughter who has her eyes on the young "butler" (Taylor). Interesting to note the supporting players, consisting those of Una O'Connor (in the role as Harlow's maid); Forrester Harvey and E.E. Clive to be those in memorable support in the James Whale science fiction classic, THE INVISIBLE MAN (Universal, 1933). Even more interesting is both Reginald Owen and Forrester Harvey reprise their roles from the 1931 film. Other British character types as Billy Bevan and Lionel Brahm serve their brief parts well. Placed on home video in the 1990s, PERSONAL PROPERTY should make an impression on those curious about the careers of both Harlow and Taylor, or lesser known "screwball comedies" from this era. With better roles ahead for Taylor, especially his reported personal favorite being WATERLOO BRIDGE (1940), Harlow next project would be another comedy, SARATOGA, noteworthy mostly as the one she never lived to complete, though her remaining scenes were performed by a stand-in double. For PERSONAL PROPERTY, it's all Harlow. (**1/2)

This was directed by W.S Van Dyke the same guy who also directed the overrated The Thin Man and three of it's sequels. The movie stars Jean Harlow and this wasn't as good as some of her other comedies but better than some others like Saratoga. This was the only movie she made together with Robert Taylor. I always thought Taylor was overrated but he's pretty good in this movie. Taylor plays a man who just got out of prison for six months and his dad and brother want him gone now. The dad and brother own a business and it's doing pretty bad. Taylor then meets Harlow at a party and falls for her pretty quickly but she can't stand him. He follows her home and winds up getting a job as her butler and this is a pretty good comedy.

Apparently the only film Jean Harlow and Robert Taylor starred together, this harmless but ultimately forgettable MGM star vehicle is gravely marred by plush MGM studio sets and a drab, unconvincing direction by W.S. Van Dyke, though it has its moments of unintentional humor. But given the stars and the studio, this could have been more entertaining. It is a tedious mélange of romance and comedy that somehow frazzles or drowns when a good or funny scene ends. Harlow plays an impoverished but glamorous American widow named Crystal Wetherby who, at first, has her sights set on a penniless Englishman (Reginald Owen) but soon becomes interested in Robert Taylor. If you are a fan of the stars, "Personal Property" can be eminently watchable, though Dyke's sluggish pacing can be gruelling at times.