It's fun, it's light, [but] it has a hard time when its tries to get heavy.

an ambitious but ultimately ineffective debut endeavor.

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

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

It's not the film Illicit put a permanent roadblock in the careers of Barbara Stanwyck and Joan Blondell. But both even early in their careers were doing better material. It was more of a speed bump than a detour.Illicit has young people James Rennie and Stanwyck falling in love, but both coming from the upper crust have seen too many marriages fail even in their own families. They come up with the radical idea of just living together without the wedding rings or benefit of clergy. An idea that the Code would certainly not countenance.Then they try separate dating and exes from both in the persons of Joan Blondell and Ricardo Cortez show up. Cortez is his usual smarmy self and Blondell is the best one in the film.Besides Blondell, fans of Charles Butterworth who like seeing him as these droll playboy types will like this one. As Rennie's father, Claude Gillingwater is his usual crotchety parent.Rennie sadly is stiff and doesn't register well. The part called for a Cary Grant, but he was still on the horrizon.Illicit is a naughty film by the standards of the times. Today it wouldn't raise an eyelash.

The Theory, Should Lovers Marry or Not is Endlessly Talked and Talked in this Pre-Coder that Benefits from the First Starring Role for Barbara Stanwyck and She is Up to the Task of Looking Spunky and Frustrated, Randy and Depressed with Alternating Scenes as the Movie Bounces off the Walls with Theories and More Theories Batted Around..."What do Theories have to do with love?" Stanwyck Asks. Exactly.Most of the Pre-Code Fun is in the First Act as the Movie Uncomfortably Moves All Over the Place with Dry Discussions, Wordy Arguments, and Not Much Else. In All of this Soap Opera Seriousness it is Charles Butterworth as a Witty Drunk Steals Every Scene. Ricardo Cortez is a One Note Bore, but Joan Blondell and Natalie Moorehead do Add Some Spice to the Dreariness and Moorehead's Margie Confronting Stanwyck about "Dick" is a Highlight.Overall, Pre-Code Watchers are Likely to be Disappointed After the First Few Scenes. Lovers of Staged Dialog and Glittery Costumes Might Find it More Appealing. Yes, the Virtues of Marriage as the Preferred Lifestyle Managing to Squeeze the Sex Dry is an Edgy Subject and would Vanish in a Few Years from the Screen, but this is a Slog of a Story that Could Have been Summed Up in a One Act Play.

In 1931, Stanwyck was still a young girl, with her LONG hair, child-like innocent manner, and round kid face. As Anne Vincent, she wants to stay single and happy, while her beau Dick (James Rennie) wants to get married. Along for fun is Charles Butterworth as George, Dick's sidekick. He tells the couple that they have been discovered, and totters off, for more drinks... Ricardo Cortez is also here as the ex-boyfriend Baines to stir things up; Stanwyck and Cortez had worked together on three films together in the 1930s. Look for a 25 year old Joan Blondell as Helen Childers, Anne's friend, in one of her early roles. Will things stay the same if they get married? That's the big question. Kind of a statement of the times, and even more so in a couple years when the production code will keep everything on the up and up, even when they aren't. This was Darryl Zanuck's 12th film as producer. Towards the middle of the version shown on Turner Classics, there are scratches or wear marks on the right side of the screen, not surprising for such an old film. Interesting to watch, but no big surprises.

Barbara Stanwyck and James Rennie are ultra-modern 1930s lovers who shun conventional trappings such as marriage. She is afraid that marriage will kill the romance. Who has not had these fears? He is eternally patient, but his father maneuvers her into a commitment. Their marriage stumbles (whose hasn't) and the ex-girlfriend and ex-boyfriend enter the scene. Soon this thoroughly modern couple are acting like typical married folk and Barbara declares that the marriage has indeed killed the love. Stanwyck exhibits skills as an actress that will make her famous in better films later. Claude Gillingwater's portrayal of the father is excellent and serve as a good role model. Charles Butterworth (the faithful friend) was really quite a wit and succeeds in stealing a scene or two. I can overlook any technical flaws in the movie because I think that the central issues are still relevant today. Who has to compromise more in a marriage? The husband or the wife? Will each of the lovers do what is necessary to save the marriage when they know they have problems? All is not revealed until the final scene whose outcome is by no means certain. Good movie, not a great one, but good entertainment for a couple that talk to each other. I say watch it (if you can find it) and see if this pre-Code movie does not warrant your appreciation and was worth your time.