Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Humbersi The first must-see film of the year.

JohnHowardReid Copyright 1 December 1934 by First National Pictures. A Warner Bros. First National Picture, made at Teddington Studios. London trade show: June 1934. 76 minutes. Available on an 8/10 DVD from the Warner Archive (voices are a bit muffled for the first reel)).COMMENT: Although she is hardly remembered today, Laura La Plante was not only an exceptionally popular star in the silents, but was one of the very few of the top names who made a successful transition to sound. Her voice was excellent. But she virtually retired from movies when she married a fellow American, this film's prolific producer, Irving Asher. Admittedly, while Laura La Plante does superbly well by the title role (which calls for some really talented acting), she is to some extent overshadowed by Jane Carr who, most exquisitely dressed by Norman Hartnell, doesn't really have to act at all to draw our attention. The other players are less threatening, although director Monty Banks is inclined to let Ian Hunter and Clifford Heatherley way overstay their limited welcome.

morrison-dylan-fan Taking a look at IMDbs Classic Film board,I noticed a post announcing that a poll was to be held soon,for the best movies of 1934.Being keen to pick up some 1934 titles that I've not seen,I started to search around on Amazon UK for Warner Archives flicks from that year.With having enjoyed seeing Ian Hunter in the fun British murder mystery Death at Broadcasting House,I was happy to spot his name in the credits of a title which looked like a fun light Comedy,which led to me getting ready to pay a visit to the church mouse.The plot:Getting told by his boss that women will soon have a place in the board room,London bank manager Johnathan Steele finds himself increasingly uncomfortable with the behaviour of his secretary Sylvia James,who along with doing everything her own way,also knows how to press Steele's buttons,which has led to Steele to fall in love for James.Sacking James,Steele begins searching for a "church mouse" aka:a women who will stay quiet and do everything he says.Sneaking into Steele's office,shy Betty Miller asks Steele if he has any jobs available.Taking his first glance of Miller,Steele begins to smile,as he realises that he has just caught his church mouse.View on the film:For one of the few "talkies" that Silent Cinema star Laura LaPlante,Warners give the DVD a nice,clear picture,but sadly leave the soundtrack very muffled,which leads to the one-liners in Scott Darling & Thomas J. Geraghty screenplay to not deliver the full bounce that they offer.Whilst the DVD company try to rain on her parade,the pretty Laura La Plante is still able to give a shining performance as Betty 'Miss Church Mouse' Miller,thanks to Plante showing Miller's nervousness in following her own path,whilst also trying to get approval from Johnathan Steele.Joining Plante,Ian Hunter gives a wonderful brash performance as easy-charmer businessmen Johnathan Steele,and Jane Carr makes heads turn,as Steele's lavish past secretary Sylvia James.Showing clear signs of the films stage origins,director Monty Banks (who also has a joyful supporting role in the title) largely keeps the stilted camera firmly placed at the centre of the scenes (with the exception being lingering shoots of the actresses eye-catching low cut dresses),but shows a good burst of energy in the outdoor scenes,with Banks rapid tracking shots perfectly showing James excitement at being a rebel.Going in the opposite direction of the mostly reserved Banks,Darling and Geraghty make the movies thin plot one that is easy to forgive,due to stuffing the film with whip- smart,double entendre heavy one liners that hit everyone in sight,and also taking a rather daring approach to the backgrounds of the characters lives,with one of Steele's fellow works appearing to have an interest in French prostitutes!,which leads to this being a field mouse who you will want to keep.

David Frieze This British film seems more like an American film of the period. It was made by Warner Brothers' British studio and has the same kind of set design, photography, dialogue and pace of WB's American films from the early 30's. In addition, Ian Hunter plays the kind of aggressive businessman we associate (whether rightly or wrongly) with the United States rather than with England. His character in "The Church Mouse" is all extremes: he makes snap decisions, and his anger turns to absurd generosity in the blink of an eye. American actress Laura LaPlante, as a young woman looking for work in those Depression years, gets into his office by climbing through the window and impresses him with her secretarial skills (which are such that we can't help wondering why she hasn't found work long before this). But, after falling in love with him, she soon finds out that he never mixes business with pleasure - whenever he wants to fool around with his secretary, he fires her first. The plot is silly and wildly out of date nowadays, but the film doesn't take itself seriously and is worth seeing once.

Dr. Ed-2 Laura LaPlante is nearly forgotten now, but in the 20s and early 30s she was a big name in films. She made an easy transition to talkies and was a fine light actress as this film proves. LaPlante plays the title character, a mousy secretary who is all efficiency until she falls for her boss (Ian Hunter). Like so many other silent stars, LaPlante should have had a better and bigger career in 30s talkies. This cheapo production hinders but does not ruin her performance. This same story was previously filmed as Beauty and the Boss with Warren William and Marion Nixon, but this version is better. Laura LaPlante is probably best remembered now for starring in the first (and part-talkie) version of Show Boat and for playing Betty Hutton's mother in Spring Reunion.