Main Cast: Carole Lombard, Fred MacMurray, Ralph Bellamy, Astrid Allwyn, Ruth Donnelly
Release Year: 1935
Country: US
Run Time: 80 minutes
Plot
After nearly a decade of nominal "leading lady" roles, Carole Lombard landed her first genuine starring vehicle with Hands Across the Table. Reasoning that the way to a man's heart is through his cuticles, Regi Allen (Carole Lombard) takes a job as a manicurist at a fancy barbershop, unabashedly admitting that she hopes to use this position to snag a rich husband. Sure enough, Regi's charms prove irresistable to Allen Macklyn (Ralph Bellamy) a wealthy and charming invalid, who knows that the girl is a golddigger but doesn't care. The other man in Regi's life is Theodore "Ted" Drew III (Fred MacMurray), who though born into a wealthy family is stone broke, and on the verge of marrying a rich debutante (Astrid Allwyn) to replenish his lost fortune. Hoping to briefly escape this fate and his other financial problems, Theodore hides out in Regi's apartment. It is, of course, a platonic relationship: Having been burned in the past, Regi doesn't want to get romantically entangled with a pauper, while Ted is already promised to someone else. But, as is often the case in 1930s comedies, things don't quite turn out the way that either Regi or Ted expect. Full of delightful, unexpected touches, Hands Across the Table proved to be a major boost for Carole Lombard's career, and didn't exactly do any harm to up-and-coming Fred MacMurray either. ~ Hal Erickson, All Movie Guide
Review
While it's not as well known as many other comedies from the same period, Hands Across the Table is a totally delightful, if inconsequential little movie. Although it's set in the world of high society, it's tone is definitely not that of the screwball comedy. Carole Lombard's Regi is too serious about money, and her determination to get it is too real for a screwball. Likewise, Fred MacMurray's Theodore Drew III may be matter-of-fact about his upcoming marriage of convenience, but the certain level of accepting resignation he brings to his situation would throw a screwball out of sync. Those looking for madcap fun among the rich may be made uncomfortable by Table's take on things, but the truth is Table makes it's own madcap fun -- and it's highly appealing. There's also a surprisingly deep vein of emotion beneath the surface; one cares about these characters almost as much as they care about themselves. Lombard gives one of her customarily rich performances, the kind that seem to come so easily to her that one takes them for granted. MacMurray is the real surprise; practically a kid, he's more animated than in many of his later films. He's engaging in a completely boyish way, yet still has an aura of masculinity about him. And the chemistry between the two leads is practically tangible. Throw in a very fine supporting turn from Ralph Bellamy and smart direction from Mitchell Leisen and you have a neglected little gem of a movie. ~ Craig Butler, All Movie Guide
A classic screwball comedy, a manicurist looking for a rich husband encounters two prospects - one a wealthy invalid pilot, the other an eccentric playboy. The plot revolves around her choice ... complicated when she discovers that one of the men is already engaged to be married.
Plot Summary
Manicurist Regi Allen desires to marry a rich husband and is called to be the manicurist of wealthy invalid Allen Macklyn (Ralph Bellamy). Upon exiting his apartment, she encounters Theodore Drew III (Fred MacMurray) who is playing a game of hop-scotch in the hallway. He invites her to join him, which she cordially declines. Later she is called to give a manicure for Theodore Drew III and is surprised to see the man whom she had met in the hallway. She waves him hurriedly away, waiting patiently for Theodore Drew III until she is told by the woman at the counter who she waved away. She replaces her friend as his manicurist and pricks his fingers several times with her file, bandaging them as she goes along. They begin to talk rather awkwardly, but nevertheless he invites her to dinner.
Ted becomes drunk and tells her that he is engaged to be married to Vivian Snowden, heiress to a pineapple fortune and that he is leaving on a boat the next day to Bermuda. Regi is unable to wake him from his drunken slumber and permits him to sleep on her sofa, believing that he will leave before she returns from work. However, he is still there when she returns and greets her warmly while ironing his pants. He explains to her that he missed the boat to Bermuda and that his family lost all their money in the Great Depression. Uncertain, Regi is convinced when he frightens away a potential date, of which she did not wish to go on, by pretending to be her abusive husband. The two confess to each other that they intend on marrying for money only and in the course of his stay with her, they fall in love.
Ted calls his fiancee, Vivian (Astrid Allwyn), to remain in her favor with Regi interrupting saying continuously "Bermuda calling," until they hang up. On Ted and Regi's last night together, they admit their mutual love, but Regi ends the relationship stating that he must marry for money or their love will grow sour. Ted leaves that evening for his fiancee's.
Meanwhile, Vivian grew suspicious of Ted after his phone call and, after having private investigators locate his girlfriend, she leaves for the hotel. She asks for Regi Allen as her manicurist and confronts her. Remaining unimpressed by Regi, Vivian refuses to let go of Ted. However, Ted decides that he would much rather remain with Regi and surprisingly get a job rather than live as Vivian's lap dog. He returns and is released from his engagement by Vivian. He goes to the apartment of Allen Macklyn where Regi had gone for comfort. Allen prepares to propose with the new ring he had bought when he realizes that Ted does indeed love Regi and he leaves, permitting them to talk.
Regi and Ted are reunited and decide to put their fate in the hands of a coin to decide between eating lunch or getting married or, if the coin lands on its edge, Ted will get a job. They flip the coin and stop the bus to see that it has landed on its edge.
Lombard had originally wanted Cary Grant in the role of Theodore Drew III, but scheduling conflicts made him impossible to get. (Courtesy TCM)
The film was built primarily as a vehicle to promote Lombard's comedic acting abilities.
Lombard knew MacMurray as he played saxophone at various clubs around Hollywood. (Courtesy TCM)
MacMurray was unknown for his comedic acting abilities and found it difficult to be humorous enough for the role. Director Mitchell Leisen and Lombard both worked extremely hard to receive the performance they wanted out of MacMurray. Lombard, at one point, sat on MacMurray's chest, pounding on him with her fists and yelling, "Now Uncle Fred, you be funny or I'll pluck your eyebrows out!"
Lombard and MacMurray were unable to create the chemistry that they had been able to create with various other on-screen partners. Leisen said, "The main problem with Fred in those days was that he didn't project much sex, aside from being very good looking. In the scene where he says 'Aren't you going to kiss me good-night?' Carole was supposed to walk in and kiss him, then walk out of the frame. Well, she came out past the camera, just looked at me and shrugged her shoulders, as if to say, 'So what?' Poor Fred!" (Courtesy TCM)
Lombard and MacMurray did like each other immensely, Lombard going to parties at the MacMurray's house and vice-versa. With Leisen's direction, they were able to place their genial relationship onto the screen. Of the scene in which MacMurray calls his fiancee and Lombard continuously interrupts stating "Bermuda calling," Leisen said, "When they finished the take, Carole and Fred collapsed on the floor in laughter; they laughed until they couldn't laugh any more. It wasn't in the script, but I made sure the cameras kept turning and I used it in the picture. It is so hard to make actors laugh naturally - I wasn't about to throw that bit out." (Courtesy TCM)
The character of Nona, played by Marie Prevost, is an avid numerology expert. Coincidentally or not, Carole Lombard's mother was also a numerology expert. According to legend, Lombard's mother initially predicted Lombard's death by the pattern of recurring threes (Lombard was 33 at the time of her death, the plane was Flight 3) and was adamant about their not flying. Of course, Lombard took the plane anyway and subsequently perished in the plane crash. In Hands Across the Table, when Nona hears the name of Theodore Drew III, she tells Lombard that 3 is a very dangerous number for her.
