Hellen I like the storyline of this show,it attract me so much

Unlimitedia Sick Product of a Sick System

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Fairaher The film makes a home in your brain and the only cure is to see it again.

atlasmb "Under 18" is a charming pre-Code film that includes the best of the genre: beautiful art deco sets, stunning period fashions, and scenes that were titillating for their time.According to notes in the bio of Ms. Marsh, the film was not a critical success, but I do not understand why. The film's best asset is the performance of Marian Marsh herself, who is cute as a Kewpie doll. She plays Margie, a seamstress in the back room of Maison Ritz--a couture fashion house--where she is enthralled by the happenings in the front salon, where rich men bring their women to select expensive gowns and furs.Margie's friends and relatives exist on the lower end of the financial spectrum, trying to get ahead. Her boyfriend, Jimmy, is an optimist. He always tells her that good times are just around the corner. But when times get worse, Margie is tempted to take a short cut.In 1931, as skyscrapers captured the imagination of the public, it must have felt like there were two worlds--the life of penthouse luxury that existed in the sky and the life of the hoi polloi down on street level. This film captures that concept very well (similar to Fitzgerald's vision of a distant, unattainable East Egg in "The Great Gatsby").There is nothing about this film that I would criticize. It offers a wonderful view of the life and times of the early thirties, including the changing mores that some saw as opportunity and others saw as the demise of traditional values.

Michael_Elliott Under 18 (1931) ** (out of 4) A rather bland Pre-Code from Warner doesn't live up to any of its hype especially when you see the cast, the story and the innuendo in the title. Margie Evans (Marian Marsh) lives in poverty and thinks that marriage is the one way out but when her older sister (Anita Page) gets married and still lives poor, she sees another chance of making good. At her factory she learns that rich men can give women what they want with a few "favors" and Margie meets a possible candidate in the womanizing Raymond Harding (Warren William). The story, the title, the suggestive language and throw in Marsh, Page and William and yet the end result is still rather bland and boring. I was really surprised to see how tame and uninteresting this Pre-code was and it really does seem like the studio was trying to do a Pre-code without all the naughty stuff. When I say naughty there's certainly not going to be anything X-rated but if you're a fan of this genre then you know Warner was the king and could deliver perfect entertainment. Several things struck me about this production and the majority of it goes back to the screenplay. The story is rather tame and for the life of me I couldn't understand some of the twists and turns in the story. I won't give away the ending but what happens to the William's character is just downright silly and it gets even double with yet another twist. The main female character is just as confusing because she sells herself so that her sister can get a divorce and you have to wonder what the point of this was since you could have had the sister being unhappy and going into the arms of William to get a divorce. At just under 80-minutes there's quite a bit of dialogue with some of it being funny but the majority of it just doesn't contain enough spice to make up for everything else going on. Marsh is pretty good here even though the screenplay doesn't offer her too much. Those who have seen the Edward G. Robinson film FIVE STAR FINAL will remember the charming Marsh. William is doing William like no one else could and Page is always entertaining even if she spends most of her screen time just fighting with the husband. The sexuality level is pretty low throughout even though it's hinted at at times. UNDER 18 has all the elements for a good Pre-code but sadly the screenplay gets lost one scene after another and in the end you can't help but see it as a disappointment.

calvinnme Though it only has one star usually associated with Warner Brothers in the early 1930's - Warren William - and even he has a supporting role in relation to the now forgotten Regis Toomey, this film is just bursting with the attitude of precode Warner Brothers.It's subject is very definitely the depression and specifically how fortunes quickly changed for families when the male head of the household died. The beginning of the film is full of hope as the movie opens on the wedding day of Sophie (Anita Page), oldest daughter in the Evans family. However, three still-shots later - Dad's grave stone reading 1872-1928, a room for rent sign, and a pawn broker's store sign, and the audience is standing in the middle of a crowded tenement neighborhood in New York City in 1931. Youngest daughter Margie is working as a seamstress, living in a complete dump with her mother, and her boyfriend is making annoying happy talk about how their next big break is just around the corner. What is just around the corner is that sister Sophie, her husband Alf (Norman Foster), and their baby are moving into Margie and Mom's cramped quarters because they have just lost everything. Worse, Alf doesn't think that getting a regular job is a priority.The daring subject that is insinuated here but never mentioned specifically is abortion. After Alf hits Sophie when she objects to him taking what little money they have and betting on himself in a billiards tournament, she reveals to Margie that she wants a divorce from loafer Alf, and furthermore she's pregnant again. Margie talks about taking her to someone the other girls have talked about, and you do see her talking to a lawyer next, but you've got to wonder what else happened since that baby is never mentioned again.Unfortunately the girls are shocked to find out from the lawyer that a divorce costs 200 dollars, which they don't have. Margie has two places she can go for the money - her boyfriend, who has 800 dollars saved to start his own business but is dead-set against divorce under any circumstances, much more so against financing one. She could also go to playboy millionaire Raymond Harding (Warren William) who took a liking to Margie when he saw her stand in as a model at the fashionable dress shop where she works. He would certainly give her the money, but what will she have to do in return? This film is headed to a dark depression precode outcome when several credible good things happen and one rather outlandish thing happens that results in a rather preposterous happy ending. It's sad to think that Marian Marsh's career never really went anywhere. I've found her a delight in the three films in which I've seen her - Svengali, Beauty and the Boss, and this one. I'd recommend it to anybody who likes the precodes.

HarlowMGM Marian Marsh was a creamy complexion blonde ingénue best remembered for playing Trilby opposite John Barrymore's SVENGALI in 1930. Warner Bros. briefly considered her star material in the early 1930's, needlessly to say this gentle starlet did not last long on the mean streets of Warners although she had a surprisingly long career as a B movie lead that lasted into the early 1940's. She was at the height of her fame in 1931 when Warners starred her in UNDER EIGHTEEN, a drama about a young girl who considers the primrose path. The movie is remarkably tame for a pre-code with Miss Marsh's virtue never really compromised or in doubt. Miss Marsh is a pleasant performer but it's easy to see how audiences of the era were underwhelmed by her compared to so many charismatic actresses starring at the time. She's also overshadowed here in the acting department at least by her MGM contemporary, lovely Anita Page, borrowed from Metro to play the older (age 21!) sister who learns marriage ain't quite all wedding cake especially when you have a husband who won't work and is not above smacking you one. (The movies' most shocking scene is the suggestion that Anita is considering having an abortion rather than have another child for a man who won't support the first one. It's never stated outright but clearly suggested. "I know where to go from girls at work for things like that," Marian volunteers, but after teasing us with Marian's hand scanning down on the list of business offices on a building directory wall with "doctor" among them, she stops at "attorney", thus showing us she meant she would help her get representation for the divorce.) It's Anita's dilemma in fact that causes Marion to wonder if does any good to be a good girl and Marian's desperation to get the $200 (rather pricey for the era) needed for Anita to obtain a divorce that causes her to turn to presumably big bad wolf Warren William. There's a remarkable unintentionally comic sequence when maid Marian goes up to Billy boy's art deco penthouse where a pool party with a bunch of fairly sauced party goers is in full swing (the depravity!), playboy Warren informs her this is just a typical night with his friends and instructs his butler to get the new chick a swimsuit, leading Marian to a room well stocked with swimwear and robes for visiting females. But wait, Marian's virtuous boyfriend, milkman Regis Toomey is on the way to rescue his girl from this den of iniquity and gives WW a rather mild punch that sends the maligned lech to death's door but since he really isn't a bad egg he survives (old Reg turns out was no dangerous pug, Warren merely had eaten some bad shrimp!!) and so our lovebirds are happily reunited and we also learn sister Anita off-camera has been happily reunited with hubby Norman Foster who has won $1,000 in a pool tournament (and another $500 besides for betting on himself!!) Of course, the fact that bro in law had earlier in the film LOST his pool hall and savings in an earlier bit of gambling is conveniently forgotten.The cast is pretty good here but the billing on the film is curiously strange. J. Farrell MacDonald as the girls' father keels over minutes into the film but is billed high whereas mom Emma Dunn has quite a large part but isn't billed at all. Similarly, Joyce Compton is billed quite high for a part so small I didn't notice she was in the picture on first viewing.The picture may not be for the history books, but the star starlets sure were survivors. Marian Marsh passed away last month, November 2006, at age 93, while Anita Page is still with us at age 96.