Wonderful character development!

Am I Missing Something?

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

In this film, Jean Harlow comes from a low class childhood, when the death of her father led her mother to remarry and, under the stepfather's influence, her mother becomes a "hostess" and Jean is encouraged in entertain as well. But, when she has enough, Jean sneaks off to meet the world head on and tries to find herself love and a soft place to fall. By means of a job and connections, she meets Lewis Stone, but he has his own problems. Then she tries to latch on to Lionel Barrymore, but there's more to him than meets the eye, as he acts kind to her, but realizes, or so he thinks, that she is only mercenary. Enter his son Franchot Tone, as he sets his sights on Jean, but Lionel has his own agenda. Such sets up the story in this enjoyable Jean Harlow film. Her career began with characters that were purely out for money and rich men, but, with the movie studio trying to make sure their films could pass the Hays Production Code, they made her characters more with a heart of gold, instead of heartless. This film certainly entertains and at the same time is emotionally charged, as we see Jean trying to be a good girl despite her yen for Franchot. If you've never seen Jean Harlow, this is certainly one of her best, even though it's not as well known as other films of hers. Though "The Girl from Missouri" was made in 1934, the story and its lead actress are still fresh today. With good support and snappy dialogue from Patsy Kelly, this is must-see Jean Harlow material.

Because the Hays Code was implemented during the production of this film, it has a bit of a contradictory plot - Harlow wants to have fun but she also insists that she has the highest morals. She and her friend Kitty (Patsy Kelly) have bolted Missouri for the East Coast where Eadie (Harlow) wants to hook a rich benefactor. She sets her eyes on the rich elder host of a party, Cousins (Lewis Stone) and he agrees to marry her. However, unbeknownst to Eadie, he has just been turned down for a large loan and will imminently kill himself. She then turns her attentions to TR Paige (Lionel Barrymore), a banking magnate, who isn't interested in her and can see through her games. His son TR Paige Jr. (Franchot Tone), is besotted with her and his dad thinks that if he gets burned by the money-grubber, he might learn something. Eadie shows herself to have a heart of gold and so the film doesn't turn out as the banking magnate might have foreseen it.Some great acting by Tone and Harlow steals every scene she is in. Barrymore is fantastic and effortless in his role. Kelly is very good as Eadie's frisky friend. An enjoyable way to spend 75 minutes.

If the themes of The Girl From Missouri sound familiar it should. That's because Anita Loos who wrote the screenplay here also wrote the classic Gentlemen Prefer Blondes. Unlike Marilyn Monroe in that film, Jean Harlow will accept any kind of jewelry from men of means.And it's men of means that Jean Harlow is after. She leaves the road side hash house run by her mother and stepfather because she's decided that the best way to gain the easy life is to marry it. Her talents as a chorus girl are limited, but she'll be able to trade in on that beauty.Her odyssey starts with her and friend Patsy Kelly getting an invitation to perform at a party thrown by millionaire Lewis Stone. But unbeknownst to Jean, Stone's just having a wild last fling before doing himself because of the moneys he owes not owns. Still she wrangles a few baubles from him that fellow millionaire Lionel Barrymore notices. Lionel's amused by it until Jean sets her sights on his playboy son, Franchot Tone. After that he is not amused and he looks to shake Jean from climbing the family tree.The Girl From Missouri went into production mid adaption of The Code so it went under peculiar censorship. I've a feeling we would have seen a much more risqué film. Still Jean Harlow as a younger and sassier version of Mae West is always appreciated. What a great comic talent that woman had, seeing The Girl From Missouri is a sad reminder of the great loss the world of film sustained with her passing three years later.Ironically enough the casting of Patsy Kelly with Harlow was no doubt influenced by the successful shorts Kelly was making with another famous platinum blonde, Thelma Todd. Harlow and Kelly have the same easy chemistry between that Patsy had with Thelma. Todd would also die a year later in a freak accident/suicide/homicide that no satisfactory explanation has ever really been given. Don't miss The Girl From Missouri, it's bright and sassy, must be from all that sparkling jewelry.

Girl from Missouri, The (1933) ** 1/2 (out of 4) Jean Harlow plays a Southern girl who goes to the big city to land a millionaire and she thinks she finds on in a lawyer (Lionel Barrymore) but soon his son (Franchot Tone) starts coming onto her. The film has a pretty weak screenplay and there's really nothing too original going on. Even Harlow seems a tad bit bored as she doesn't contain any of that spark or energy that made her a legend. We do get several shots of her body, which are nice but it's not enough to save the film. Tone makes for a good leading man but it's Barrymore who steals the show with his maniac like performance. What laughs the film does get are due to Barrymore but Lewis Stone also comes off well in his small role. Oh yeah, one of Harlow's sexual scenes includes her being thrown into a shower with her clothes on and then walking out with her nipples showing through her dress.