Robert Young, Robert Armstrong, Edward Arnold, Constance Cummings, Reginald Denny, Sally Eilers, Louise Henry, George Meeker, and Gregory Ratoff in Remember Last Night? (1935)

Edmund Lowe and Victor McLaglen in Under Pressure (1935)

Jean Arthur, Ray Milland, and Edward Arnold in Easy Living (1937)

Glenda Farrell and Barton MacLane in The Adventurous Blonde (1937)

Gary Cooper and Barbara Stanwyck in Ball of Fire (1941)

Donna Reed, Edward Arnold, and Ann Harding in Eyes in the Night (1942)

Paul Guilfoyle, Erich von Stroheim, and Harriet Russell in The Crime of Doctor Crespi (1935)

George Reeves, Mary Beth Hughes, Lloyd Nolan, and Helene Reynolds in Blue, White and Perfect (1942)

Lloyd Nolan and Marjorie Weaver in The Man Who Wouldn't Die (1942)

Mayo Methot and Charles Ruggles in Good-bye Love (1933)

Kathleen Crowley and Victor McLaglen in City of Shadows (1955)

Joan Blondell, Binnie Barnes, Robert Benchley, Janet Blair, and John Howard in Three Girls About Town (1941)

A dead body in the hotel! What will the morticians think?

Joan Blondell, John Howard, and Ray Walker in Three Girls About Town (1941)

Joan Blondell, Robert Benchley, and Janet Blair in Three Girls About Town (1941)

Joan Blondell and John Howard in Three Girls About Town (1941)

Joan Blondell, Binnie Barnes, Robert Benchley, and Janet Blair in Three Girls About Town (1941)

Joan Blondell, Robert Benchley, Janet Blair, and John Howard in Three Girls About Town (1941)

Robert Benchley, Janet Blair, and John Howard in Three Girls About Town (1941)

Joan Blondell, Janet Blair, and John Howard in Three Girls About Town (1941)

Joan Blondell, Robert Benchley, and John Howard in Three Girls About Town (1941)

Joan Blondell

John Howard

Binnie Barnes

Richard Carroll

To save the reputation of the hotel where they are employed, sisters try to cover up a murder.

Leigh Jason

Three Girls About Town

The 1940s are too modern for me!

What&apos;s so fascinating about films from the 1930s, particularly those from the early 30s is that they let us taste a world so different to our own. They had a certain primitive charm, an innocent simplicity which had vanished by the 1940s. To quote Jon Anderson&apos;s song &apos;The Friends of Mr Cairo,&apos; &quot;Citizen Kane came fast and quickly, Conquering ol&apos; New York City, Poking fun at superstition, Media became television&quot; OK, films from the 40s were generally better made but the magic had gone.

This is what this film demonstrates. It stars the ultimate sex symbol, the ultimate sassy broad of the 1930s, Joan Blondell but here she&apos;s just one of the countless clones of the 40s. She&apos;s nothing special anymore, she doesn&apos;t look any different to everyone else, in the 40s she can no longer be that girl who gave&apos;us&apos; a smile through The Depression. This film itself is so spectacularly un-special that you&apos;re likely to forget you were watching it if you go out of the room for five minutes to make a cup of tea.

It&apos;s a typical family fun picture with generic 1940s Hollywood humour. It&apos;s not a bad film, it&apos;s actually reasonably amusing - although the story of an inconvenient corpse was done a million times better in Fawlty Towers (the Mr Leeman episode).

Odd that although the 40s are hardly modern times, seeing the stars from a decade earlier makes you nostalgic for a time you clearly never even knew (and in reality would certainly never want to experience). If you&apos;re not inexplicably obsessed with the 30s however, you might enjoy this because it&apos;s an above average example of its genre.

What's so fascinating about films from the 1930s, particularly those from the early 30s is that they let us taste a world so different to our own. They had a certain primitive charm, an innocent simplicity which had vanished by the 1940s. To quote Jon Anderson's song 'The Friends of Mr Cairo,' "Citizen Kane came fast and quickly, Conquering ol' New York City, Poking fun at superstition, Media became television" OK, films from the 40s were generally better made but the magic had gone.

This is what this film demonstrates. It stars the ultimate sex symbol, the ultimate sassy broad of the 1930s, Joan Blondell but here she's just one of the countless clones of the 40s. She's nothing special anymore, she doesn't look any different to everyone else, in the 40s she can no longer be that girl who gave'us' a smile through The Depression. This film itself is so spectacularly un-special that you're likely to forget you were watching it if you go out of the room for five minutes to make a cup of tea.

It's a typical family fun picture with generic 1940s Hollywood humour. It's not a bad film, it's actually reasonably amusing - although the story of an inconvenient corpse was done a million times better in Fawlty Towers (the Mr Leeman episode).

Odd that although the 40s are hardly modern times, seeing the stars from a decade earlier makes you nostalgic for a time you clearly never even knew (and in reality would certainly never want to experience). If you're not inexplicably obsessed with the 30s however, you might enjoy this because it's an above average example of its genre.

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Three Girls About Town

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