Bill (Spencer Tracy) and Trina (Loretta Young) meet on a park bench during the depth of the Great Depression where Trina admits she has not eaten in two days - she is homeless and jobless like so many others. Bill is dressed in a tuxedo, she thinks he is rich. He invites her to eat a sumptuous meal at a fine restaurant. But it turns out he is broke and manages to bluster and threaten his - and her - way out of trouble with the restaurant. They very shortly end up lovers, living together in a shack in a homeless encampment of other forgotten men and women. Lots of complications that you have probably seen in other precode films ensue.
This movie was a lot like other Borzage films, in particular the director seemed like he was trying for a redo of the earthbound parts of Lilliom to some extent with traces of Seventh Heaven - A poor, lonely girl falls head over heels for a swaggering lay about who seems, from the outside, to use and mistreat her and have no appreciation for her. But her love sees past his cloddish behavior and fulfills her so completely that, for her, the domestic life she makes with him is bliss.
The casting is what makes the difference in this film. As opposed to Lilliom's Charles Farrell, Spencer Tracy is believable as someone who could throw a punch and knock somebody out and never give full throated - or even half throated - praise to Young's character, yet there is tenderness under that rough and seemingly uncaring exterior. Likewise, when Young moons after Tracy, the screen lights up like Times Square. That makes all the difference in terms of how much we're likely to be invested in her love for a guy who doesn't really deserve it (though it's also true that she domesticates/redeems Tracy a lot more over the course of Man's Castle).
The supporting cast is excellent too. Arthur Hoyl is the aptly named Bragg who lusts after Young and tries to get her by fair means or foul. Marjorie Rambeau is a hardened perpetually drunken woman whose problems probably started a long time before the Great Depression started. Columbia stalwart Walter Connolly is an ex preacher living in the encampment who is quite gentle and fatherly with the other residents to the point that I wonder how he got there and how he stopped being a man of the cloth.
I'd highly recommend this one, which has only recently been restored.
This movie was a lot like other Borzage films, in particular the director seemed like he was trying for a redo of the earthbound parts of Lilliom to some extent with traces of Seventh Heaven - A poor, lonely girl falls head over heels for a swaggering lay about who seems, from the outside, to use and mistreat her and have no appreciation for her. But her love sees past his cloddish behavior and fulfills her so completely that, for her, the domestic life she makes with him is bliss.
The casting is what makes the difference in this film. As opposed to Lilliom's Charles Farrell, Spencer Tracy is believable as someone who could throw a punch and knock somebody out and never give full throated - or even half throated - praise to Young's character, yet there is tenderness under that rough and seemingly uncaring exterior. Likewise, when Young moons after Tracy, the screen lights up like Times Square. That makes all the difference in terms of how much we're likely to be invested in her love for a guy who doesn't really deserve it (though it's also true that she domesticates/redeems Tracy a lot more over the course of Man's Castle).
The supporting cast is excellent too. Arthur Hoyl is the aptly named Bragg who lusts after Young and tries to get her by fair means or foul. Marjorie Rambeau is a hardened perpetually drunken woman whose problems probably started a long time before the Great Depression started. Columbia stalwart Walter Connolly is an ex preacher living in the encampment who is quite gentle and fatherly with the other residents to the point that I wonder how he got there and how he stopped being a man of the cloth.
I'd highly recommend this one, which has only recently been restored.