Let's be realistic.

I don't have all the words right now but this film is a work of art.

How sad is this?

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

In 1928 Colleen Moore was the #1 box office star in the country. In 1934 Moore made 3 films and never appeared in films again. Her 1934 Scarlet Letter was a notorious flop, but The Social Register isn't bad at all.Moore stars as a chorus girl who lands a rich boy (Alexander Kirkland) only to have his bitchy mother (Pauline Frederick) try to separate them. This film, produced by Columbia--a skid row outfit in 1934--has a cheap look to it but Moore is awfully good. She has a few terrific scenes where she shows what she could do if she had had some good scripts, but her early talkies were total duds and she fell from stardom fast.Frederick is excellent as the mother. Charles Winninger is Jonesy, Margaret Livingston is Gloria, Ross Alexander is Lester, Robert Benchley plays himself, and Donald MacBride is unbilled as the ferry captain.With better production values this film might have helped Colleen Moore in her quest for a comeback but it was not to be.

This film starts out with a great meet-cute, wherein chorus girl Patsy Shaw (Colleen Moore) crashes a society bash and steals the necktie of wealthy Charlie Breene, thereby winning first prize at Robert Benchly's party across the street. Romance ensues, Charlie's mother (Pauline Frederick) tries to break it up, love prevails. Not great, but Colleen Moore gets to sing and dance a little.