a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Blistering performances.

Supposed to be a light romantic comedy satirizing several aspects of radio programs. Ginger Rogers, in her first RKO film, plays an ex-orphan who has been remade into 'the Purity Girl'(Glory Eden), singing and talking on the radio program sponsored by Ippsie Wippsie wash cloth, owned by Sam Ipswich(Greggory Ratoff). She is billed as a girl who doesn't do any of the usual 'sinful' things of girls her age. In fact, the company insists that she actually live up to her image 24 hr. a day, something she resents, since such a life is very dull to her. Thus, she balks at signing a 5 year contract to continue this lifestyle. This is a satire on manufactured squeaky clean images of radio stars promulgated by sponsors and studio bosses. Another bit of sarcasm is directed at radio sponsors, whose often inane jingles tells the listener nothing important about their product. Also, obviously, this is a simple inexpensive item which is not bought very often., thus is of low value for expensive advertisement. In later years the occasional film(as "Always Fair Weather" satirized similar commercials on TV. Interestingly, the word 'television' is mentioned once, suggesting that it was a recognized term 15 years before it was commercialized, having been invented already. There are a few scenes that would have been censored out by the Production Code going into effect late the next year. Several times, Ginger removes her dress to show her underwear, even dancing around in it. Nothing special for today's audiences, but considered daring at that time. What about the brief spanking scene? I don't know how often such scenes were censored out once the Production Code went into full effect, but I do know that the occasional film slipped through, as in "Frontier Gal", "Across the Wide Missouri", "McClintock", and "Kiss Me Kate". I'm surprised such scenes were allowed in the era of strict censoring. After the women's lib movement, I haven't noticed any such incidents.....Toward the end, Ginger signs a contract with the Kelsey dish rags company , to continue her radio singing, because they allowed her to cheat on her 'Purity Girl' image. Her new husband, Jim(Norman Foster) simultaneously signed a contact with the Ippsie Wippsie company to recite poetry over the radio. But, he insisted on his wife singing between his poetry readings. This problem was solved by a merger of the two companies. Yes, very silly, as is a good part of the film in general. But, it's seldom really funny, which is the main problem with this film. The other featured players include Zasu Pitts, who provides a bit of humor, Frank McHugh, Allen Jenkins, swishy Frank Pangborn, Edgar Kennedy, and Frank Kalrien. See it on YouTube

PROFESSIONAL SWEETHEART manages indirectly to be a historically important film of sorts. Flashy supporting roles in 42nd STREET and THE GOLD DIGGERS OF 1933 had brought Ginger Rogers to the attention of Hollywood, and Columbia and RKO at least were seriously thinking of signing her to a long term contract (most of her recent work had been done for Warner Brothers but they may have believed that, with Joan Blondell and Glenda Farrell among others already in their fold, there was little room left for a Ginger Rogers). RKO wound up inking her to a 3 film deal which amounted to one film plus a two film option at RKO's discretion. Thus PROFESSIONAL SWEETHEART served as an elaborate screen test for Rogers. It was a modest success both critically and at the box office (which was more than most 1933 films could say) and RKO signed her to a full 7 year contract. Ginger's first assignment under that contract was FLYING DOWN TO RIO and the rest was history.PROFESSIONAL SWEETHEART is a clear sign that RKO was very serious about Ginger Rogers. It's a pure vehicle for her comedic abilities, seen here as more 'hard sell' than they would be later on, and she's given every bit of support that could be realistically expected: A funny, sharp, broadly satirical script from the talented Maurine Watkins of CHICAGO fame, a terrific pack of supporting actors mostly imported from Warner Brothers, and about the best house director that RKO had (William Seiter) were assigned to the project. Ginger already had considerable experience as a supporting actress in big pictures and as a female lead in little pictures, but this was her first starring vehicle, and she makes the most of it.I'll refrain from running through the plot (if you're reading this surely you already know it) and restrict myself to a few observations. The chasm between a public persona and a private one is the obvious main theme, Glory's radio shtick as "the Purity Girl" being diametrically opposed to her portrayed private desires (a girl who wants to have 'fun fun fun', essentially). As in CHICAGO, the press can hardly be more cynical about it all while agreeably playing along with the act. Whether the public is actually fooled by this or is merely willing to tolerate the deceptions for its own amusement remains uncertain. This appears to be Watkins' One Big Idea, and she runs with it.Otherwise we get a broad satire of radio's inherent deceits, for example, audiences coached on their 'spontaneous' reactions; a nice skewering of the Progressive Eugenics Movement ("Hey, they're white, these Anglo-Saxons!" our naive business magnate from the Old Country notes in surprise); Harlem as a modern jazz-filled Valhalla ("I don't care what color he is as long as he takes me to Harlem!" Glory beams with a racial double entendre), barbed comments on lawyers, clothes designers doubling as interior decorators, business tycoons whose empires consist of washcloths and dishrags, the full gamut. Gregory Ratoff strikes me as very funny as the genius behind Ippsey- Wippsey Washcloths, ZaSu Pitts is excellent as a 'sob sister' whose interview style consists of her own meandering monologues, Franklin Pangborn, Allen Jenkins, Edgar Kennedy and Frank McHugh are solid in their roles, and Theresa Harris has a more substantial part than is usual for a black maid of the era (oddly, both she and Ginger Rogers, both competent singers in their own rights, get dubbed by Etta Moten). Norman Foster does what he needs to do as the country hick.And Ginger Rogers was on her way.

I'd been looking forward to this RKO programmer because it's by Maurine Watkins, a pretty smart writer who also was responsible for the play "Chicago," which became the movie "Roxie Hart," then the musical "Chicago." So she clearly knows about the value of publicity and the hypocritical nature of advertising and sponsorship. But those satirical targets are swiped at very broadly in this one, which keeps parading the name of the sponsor--Ippsie Wippsie--as if it were in itself hilarious. They're sponsoring a singing sweetheart, a dubbed Ginger Rogers, who personifies wholesome values and, predictably, is really the opposite of those values. I find Ginger's outbursts and shifts of mood unpersuasive and a little tedious, and she's surrounded by a supporting cast of Warners and RKO players who do what they always do--a simpering ZaSu Pitts, genial Frank McHugh, Brooklyn-streetwise Allen Jenkins, sputtering-in-a-foreign-accent Gregory Ratoff, swishy Franklin Pangborn, etc. Her leading man, Norman Foster, as a Kentucky farm boy who successfully woos her, is no great shakes, and Ms. Watkins also asks us to believe that a short time with him in the mountains would turn Ginger from a grasping spoiled brat who can't cook into a darling, kitchen-trained little wifey. The plot reversals are quick and unconvincing, and the bashing of the advertising industry is positively sledgehammer.

The sponsors of a rowdy radio singer find a somber PROFESSIONAL SWEETHEART to keep her satisfied and out of trouble.Ginger Rogers dominates this Pre-Code comedy with her saucy performance as the spoiled warbler. This was her first starring role and she makes the most of it, pouting and prancing across the screen (often in her lingerie) talking bold & brassy, but actually just longing for the right male to come along and knock her into submission. Disturbing implications aside, she is an eyeful and a great deal of fun to watch.Norman Foster deftly underplays his role as a stolid Tennessee backwoodsman whose whole life is commandeered by Ms. Rogers and the avaricious makers of the Ippsie Wippsie wash cloth. His eventual break for freedom, with Rogers in tow, will elicit deep approval from at least one gender in the viewing audience.A wonderful cast of character actors help support the stars: Gregory Ratoff as Ginger's scheming sponsor; Frank McHugh as his eager beaver press agent; ZaSu Pitts as a silly sob sister; Franklin Pangborn as a nervous decorator; Edgar Kennedy as owner of a rival wash rag company; Allen Jenkins as his factotum; and Sterling Holloway as a slow-talking reporter.Movie mavens will recognize an unbilled Akim Tamiroff as a hotel room service waiter.