THE PATSY (1928): Cutie Marion as the neglected little sister of lovely Jane Winton. I'm glad she is finally being accepted as a great comedienne.

SHE HAD TO SAY YES: Sleazy 1933 fun with secretaries basically being used as call girls for clients. Plus Busby Berkeley directed it in one of his few non-musicals.

The Torchy Blane series (1937 to '39): B-pictures featuring the perfect dame of my Depression-Era dreams, Glenda Farrell.

STRANGERS MAY KISS ('31): Norma goes wild in Europe after her lover leaves her to travel in South America. Includes a slightly risque confrontation between them concerning her romantic interests.

Basically like "The Best Years of Our Lives" but in 1932 and concerning veterans of the Great War instead. Mary Astor doesn't have too much to do, but Joel McCrea and von Stroheim are fabulous as usual.

TWENTY MILLION SWEETHEARTS ('34): Fun (fluffy?) comedy about the radio industry featuring one of the top catchy songs of the decade -"I'll String Along with You," and sung by Dick Powell, of course!

FAITHLESS ('32): Contains a very pre-Code ending, and still basically so when applied to today's world. We love you, Tallulah!

BARE KNEES ('28): Darling Virginia Lee Corbin is such a great flapper, shocking all of her relatives...Oh, and there's Jane Winton again. I see a trend.

PEACH O'RENO ('31): Another Wheeler & Woolsey film that has it all: Bert in drag, a cute number with Dottie ("Niagara Falls to Reno"), Bob goofing it up with Zelma O'Neal, and the boys performing an oddball dance sequence together.

MARY STEVENS, M.D. ('33): Basically anything with Miss Francis is neato and deserves and viewing. It's a shame there isn't much of a market for them these days.

THE RICH ARE ALWAYS WITH US ('32): Ruth Chatterton does it again with endlessly interesting results. George Brent hated Bette for basically 3/4 of the movie. Ha! Classic.