She Couldn't Take It (1935)

She Couldn't Take It Poster

The wealthy Van Dyke family are constantly in the media for outrageous behavior, much to the frustration of the patriarch, Dan Van Dyke. His self-centered wife has a fondness for foreign imports, including "pet projects" like dancers and such and his spoiled children Tony and Carol have constant run-ins with the law. When Dan himself ends up in the clink for five years for tax evasion, he becomes bunk-mates with ex-bootlegger Joe "Spots" Ricardi. Ricardi lectures him on being such a push-over for an out-of-control family, so a dying Dan makes Ricardi his estate trustee once he is released from prison. Ricardi is then thrust into high society and must do everything he once nagged Dan to do.

Introduction
"She Couldn't Take It", a film from 1935, is a screwball comedy directed by Tay Garnett and featuring stars such as George Raft, Joan Bennett, and Walter Connolly. The movie portrays the story of a wealthy household dealing with the repercussions of their irresponsible way of life when they're forced to experience life without the comforts of their wealth. Combining elements of romance, comedy, and social commentary, the movie provides an amusing take a look at class and the often-criticized idle abundant throughout the Great Depression period.

Plot Overview
The movie focuses on the wealthy but inefficient Park Avenue household, the Van Dykes. The patriarch, Daniel Van Dyke (played by Walter Connolly), is exasperated with his family's extravagent methods-- especially the frivolous costs of his spouse (Billie Burke) and his child Carol (Joan Bennett). In an extreme quote to teach them a lesson, he chooses a stint in jail on a technical tax evasion count, thinking a taste of life without money will reform their characters.

While Daniel serves his time, Carol, who's stung by her dad's relocation and driven by a mixture of disobedience and desperation, decides to take control of her life. She satisfies the suave, street-smart gangster Tony (played by George Raft) and, captivated by his way of life, quickly succumbs to him. In turn, Tony gets taken in by Carol's beauty and appeal, and the 2 develop a not likely romantic connection.

Family's Downfall and Reformation
With the father in prison and under the impact of her brand-new beau, Carol sets out to alter the family's fortune by bringing obligation to their lives. Tony instills new worths in the family by making them earn their keep, specifically Carol's brother, who's required to do real work for the first time in his life.

The rest of the household likewise embarks on an entertaining, typically slapstick journey of self-discovery, where they experience the tribulations of the typical individuals. They use up various chores, attempting to adjust to their lowered socioeconomic status. Their numerous misadventures show the disparities between the classes and spoof the concept of the idle abundant who are out of touch with truth.

Resolution and Romance
In spite of Tony's criminal ties, he is portrayed as a character with an excellent heart, and he ends up being instrumental in teaching the Van Dykes about the worth of truthful work and humbleness. On the other hand, Carol's romance with Tony deepens, challenging the stereotyped class departments as she originates from a world of luxury while he is from the streets.

The movie builds towards a climax where the Van Dyke family should face their new truth and decide whether they prefer their old life or the lessons they've gained from their time without wealth. In the end, the Van Dykes become a more unified and accountable household, thanks to their period of hardship and Carol's transformative love affair with Tony.

Social Commentary and Reception
"She Couldn't Take It" functions as a social satire of the time, poking fun at the upper class's elegant way of lives versus the backdrop of the Great Depression. Even in a comical light, it resolves the disconnect in between the rich and those having a hard time to get by throughout one of America's many tough economic durations.

Upon its release, the movie was met mixed reviews as audiences come to grips with the truth of their circumstances versus the idealized resolution presented in a Hollywood production. Nevertheless, the efficiencies, especially by Raft and Bennett, were applauded, and the movie has since found its place as a captivating example of mid-1930s screwball comedy.

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