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Ladies They Talk About (1933) Barbara Stanwyck, Preston Foster, Lyle Talbot

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Movies : Drama : DVD Rip : English



Attractive Nan, member of a bank-robbery gang, goes to prison thanks to evangelist Dave
Slade...who loves her.
Directors: Howard Bretherton, William Keighley
Writers: Brown Holmes (screen play),
William McGrath (screen play) | 3 more credits »
Stars: Barbara Stanwyck, Preston Foster, Lyle Talbot | See full
cast & crew »

Summaries
Gun moll Nan Taylor, caught after an otherwise
successful bank robbery, falls for radio crusader David Slade and confides her guilt to him. Much to her surprise, he
turns her in. As a "new fish" at San Quentin, Nan fits right in, but won't see Slade, who still loves
her. Then she learns that her former partners in crime, Don and Dutch, are on the other side of the wall in the
men's section...and have an escape plan.

—Rod Crawford
Attractive Nan, member of a
bank-robbery gang, goes to prison thanks to evangelist Dave Slade...who loves her.

—Rod Crawford


Sinning Stanwyck Sizzles
Ron Oliver7 September 2004
The hard-boiled dames
locked up at San Quentin State Penitentiary are some of the LADIES THEY TALK ABOUT.

Barbara Stanwyck stars in
this very enjoyable pre-Code crime drama which takes a Hollywood look at women's lives behind bars. The acting is
strictly of the ham variety, with a few histrionics, some heart-string tugging and a surprisingly large dollop of comedy
thrown in. Some of the plot developments are absolutely ludicrous, but the viewer should never get bored.

Stanwyck is terrific as the female member of a small-time gang of crooks. Prison gives her a chance to get really
tough in order to deal with her situation, but the audience always knows that just a few moments with the right man will
have her (rather unconvincingly) melting like butter. Whether brawling with a vicious inmate, assisting in an escape
attempt, or going gunning for the guy she thinks betrayed her, Stanwyck is always right on the money for entertainment
value.

Three female costars give Stanwyck some great support in the prison scenes. Lillian Roth, as the
lighthearted inmate who befriends Barbara, nearly steals the show with her perky personality; she gives the movie one of
its brightest moments when she croons 'If I Could Be With You' to a fan photo of comic Joe E. Brown. Frowzy
Maude Eburne is a hoot as a bawdy former madam who likes to reminisce about her old 'beauty parlor' from the
comfort of her rocking chair. Good-natured Ruth Donnelly is a nice addition, in a small role, as an Irish matron with a
big white parrot.

Preston Foster, as a reform revivalist who remembers Stanwyck from their childhood together
in Benicia, California, gives an earnest performance, stalwart & steady. Lyle Talbot and Harold Huber appear as
members of Stanwyck's gang. Elderly Robert McWade makes the most of his performance as Los Angeles' wily
District Attorney.

Movie mavens will spot some fine character actors appearing unbilled: rotund DeWitt
Jennings as a cagey police detective; Helen Ware as the no-nonsense prison head matron; Madame Sul-Te-Wan as Mustard,
the sassy prisoner who's terrified of parrots; Robert Warwick as San Quentin's stern warden. And that's
dear Mary Gordon who appears for only a few scant seconds as a laughing white-haired inmate in the Visiting Room.
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Tough Broads
Robert J.
Maxwell14 May 2003
It's a little surprising for those of us who grew up on a double dose of the aging Stanwyck
playing an almost hysterical, often villainous matriarch in low-budget theatrical releases or on TV, to see how pale,
slender, and vulnerable she was in the early 30s.

Here she's the daughter of a small-town deacon who has
suffered through one lecture too many and gone wrong, sent to San Quention for involvement in a bank robbery. (I think
-- come to think about it, I'm not sure WHY she was sent up. No evidence links her to complicity in the robbery.
All that stands against her is an informal confession to a guy she likes, not made under oath, and easily recanted. Well
-- no matter.) Preston Foster is the righteous DA she falls for. He grew up in the same small town, the son of the town
drunk, but he straightened up and flew right. Too right, for some tastes. By the way, the small town they grew up in, in
which everyone knew everyone else's name, is Benicia, now absorbed into the greater San Francisco Bay Area and it
has a population of more than 25,000. 

The plot, which comes from a play, carries a lot of familiar real-life
baggage and is less interesting than the characters we meet in the course of a kind of tribal study of the ladies'
section of San Quentin. There are, first of all, quite a few African-Americans among the inmates, a bit surprising
considering the audience the film was aimed at. They're treated mostly humorously but not moreso than the white
inmates, and the humor isn't stereotypical. Ruth Donnelly, a familiar face in old movies if there ever was one, is
the not entirely unsympathetic warden or whatever her title is. She sometimes carries around a gigantic cockatoo or
something on her shoulder which seems to serve no purpose except to scare defiant inmates when it flexes its wings and
squawks. Lillian Roth has a prominent supporting part. She's quite pretty, and she sings old songs with more zest
than Susan Hayward did in the weeper, "I'll Cry Tomorrow." (Great title, there, Hollywood.) There is the
elderly Madam, happily ensconced in her chair, making wisecracks about how all the inmates are now "my girls."
Nobody in the movie is thoroughly rotten. If there is a villain, it is the woman who has been born again while in prison
and is spiteful, jealous and judgmental. Saints preserve us from zealots. Stanwyck is a surprise in her performance too.
She's as good as she's ever been, slouching around in her prison dress, hands in pockets, giving as good as
she gets. A grim cigar-smoking dyke is held up for fun without being ridiculed or turned into a monster.

The
movie is a curiosity. It's easy to watch, kind of fun, and not badly done. Snippy dialogue, a quick pace, an
unpretentious plot, all make it worth a watch.
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Report this
 8/10

Pre-code Stanwyck
preppy-317 May 2003
Nan Taylor (Barbara Stanwyck) is
caught trying to help three men rob a bank. She sweet talks an innocent, powerful man David Slade (Preston Foster) into
defending her, but confesses at the last minute. She's sent to prison and plots her revenge. The prison has a
lesbian (shown once), a black prisoner who actually has lines (very surprising for the 1930s), a bird that terrorizes
the inmates (don't ask), catfights and some pretty elaborate cells for the women. It makes prison seem like a great
place to be!

A definite one of a kind with some pretty risque (for 1933) lines and situations. Barbara
Stanwyck is just great in the title role. She tears into it and gives it her all--especially at the end. Lillian Roth
also is very good as a fellow prisoner. As for Foster--he's tall and handsome...that's about it, but he
fulfills his role.

Tough, fun, very quick (69 minutes) pre-Code movie. Definetely worth a look.
14 out
of 16 found this helpful. Was this review helpful? Yes No | Report this
 7/10

Who knew prison was this
much fun?
imogensara_smith4 August 2006
Warning: Spoilers
Lillian Roth croons "If I could be
with you" to a picture of Joe E. Brown. A creepy religious fanatic wears black lingerie in her cell, which is
plastered with pictures of her idol, a radio preacher. A society dame who murdered another society dame with ground
glass cuddles her Pekingese. A cigar smoking lesbian ("Watch out for her—she likes to wrestle," a new
inmate is warned) does exercises. An old lady who used to run a "beauty parlor" reminisces about how she was
captured by a detective who came "to get a manicure from one of my girls." It's just another typical
night in the women's ward at San Quentin, where the prisoners get radio, ice cream, free run of the recreation room
and the privilege to decorate their cells ("rooms—don't be vulgar.") Who knew prison was this much
fun? 

In a pre-Code gem starring Barbara Stanwyck, it is. Stanwyck is Nan Taylor, a glamorous bank robber
doing two to five for her role in a heist. Sardonic, jaded, sexy, tough as nails, this is Stanwyck in her early-thirties
glory. Just watching her saunter around with her hands stuck in the front pockets of her prison dress, chewing gum,
smoking, and distributing zingy put-downs, is a joy. To a self-righteous fellow inmate who tells her there's no
punishment bad enough for her, Nan replies, "Being penned up here with a daffodil like you comes awful close."


That's about all there is to Ladies They Talk About. The plot concerns a sappy religious reformer (the
object of creepy Sister Susie's crush) who falls hard for Nan and pursues her adoringly—even after she shoots
him in the arm. There's also plot about a cockamamie escape attempt: how hard could it be to break out of a jail
that apparently has no discipline whatsoever? (Though the men, including two of Nan's confederates, don't seem
to be having quite as much fun as the women.) 

This movie doesn't even try to make us want to see Nan
reform. It revels in the racy banter of lady criminals, offers a low-down rendition of the St. Louis Blues for a
soundtrack, and invites us to worship Barbara Stanwyck at her most cynical and brazenly amoral. Who could ask for
anything more?
11 out of 13 found this helpful. Was this review helpful? Yes No | Report this
 6/10

Lopsided
marcslope5 September 2006
Warning: Spoilers
Engaging pre-Code women-in-the-slammer
nonsense, with Stanwyck as a guileless babe in stir for a bank robbery. Lillian Roth helps out loads as a tough fellow
inmate (she even sings "If I Could Be With You," to an 8x10 of Joe E. Brown), and Ruth Donnelly, always
indispensable in these Warners early talkies, is a sympathetic matron. Other delights include a bullish cigar-smoking
lady criminal and Dorothy Burgess as Stanwyck's worst nightmare. But the morality is all over the place, with
Stanwyck abetting her fellow bank robbers in a breakout attempt, yet the scriptwriters
still demand that she engage our sympathy. We're even supposed to root for her as she falls in and out and in and
out of love with Preston Foster, as a crusading Aimee Semple McPherson sort, a relationship that makes no sense at all.
This is the type of movie where she shoots her lover and immediately whimpers, "I didn't mean that!"
Stanwyck was always an interesting actress, and as she alternately snarls and screams and charms and smiles, she's
intensely watchable. But her schizo character doesn't register as a heroine. And Preston Foster doesn't
register at all.
12 out of 16 found this helpful. Was this review helpful? Yes No | Report this
 8/10

Very good early Stanwyck drama reminds she's so good at being bad.
creeper16 September 1998
This is a
fine example of the Barbara Stanwyck fans would come to know in future years. Her role is tough as nails (remember this
production is pre -code) and no-nonsense but still smooth and sexy. One of the best of Stanwyck's early work.
10 out of 13 found this helpful. Was this review helpful? Yes No | Report this
 7/10

a gritty
programmer made special by Stanwyck
kidboots27 April 2009
Warning: Spoilers
This is a very gritty
pre-coder made special by Stanwyck. She could take an ordinary programmer and with a couple of emotional scenes make it
very memorable. The "Ladies They Talk About" are the women prisoners in San Quentin, where a lot of the action
takes place.

After putting the police on a false trail ("Police, hurry please - there's a man
running wild with a butcher's knife stabbing people") Nan Taylor (Barbara Stanwyck) gets busy with the real
business - helping to rob a bank with her gang!!! It goes wrong and Nan is caught. "Fighting" Dave Slade
(Preston Foster), a reform revivalist, takes an interest in her - he remembers her from his home town, she was the
deacon's daughter!!! She convinces Dave that she is innocent, so he has her paroled - hoping she will go straight.
She confesses that she was in on that bank robbery, thinking that her honestly will impress him but it doesn't and
she is sent to jail.

Life on the inside looks rough but Linda (Lillian Roth) takes her under her wing.
Lillian Roth looks absolutely beautiful and even sings a song - "If I Could Be With You". This was one of her
last films before her alcoholic oblivion. Someone Nan needs to be careful of is "Sister" Susie (Dorothy
Burgess) a religious zealot, who is secretly in love with Dave Slade and will not hear anything against him. Meanwhile
Don (Lyle Talbot) and some of his gang, have been imprisoned but they have plans to break out with Nan's help. She
provides a plan of the women's section and also an impression of the master key to all the cells. She sends the
details in a letter, but because "Lefty" (her "outside" contact) is now in jail her letter is
intercepted by the warden and the guards swoop. The gang members are killed in an ambush and Nan wrongly believes Dave
Slade was responsible. When she is released she goes "gunning" for him.

The ending is pretty
improbable - somehow I don't think Nan and Dave are going to live "happily ever after"!!! She is
completely hard boiled and only starts to feel sympathy for him when she almost kills him. Even when she is asked if it
is true that she and Slade are to be married, Nan replies "well, he said so, didn't he!!"

Among the cast is John Hyams, Leila's father, as an uncredited bank manager. Ruth Donnelly is the Matron with the
cockatoo and Madame Sul- Te-Wan is Mustard - she had appeared in "Hoodoo Ann" as Black Cindy.

Recommended.
7 out of 9 found this helpful. Was this review helpful? Yes No | Report this
 8/10

Women's Prison/Girl's Dormitory Escapades
movingpicturegal26 June 2007
Barbara Stanwyck as a
beautiful gun moll who helps her gang commit an armed bank robbery, then gets herself arrested. A young reformer who
speaks in front of an "old-fashioned revival" believes in her innocence and tries to help her as they both are
from the same hometown and, well, she's not past using her looks to get what she wants. But when, for some reason
that I couldn't quite figure out, she actually admits to him she was part of the hold-up, he then assists in
sending her to San Quentin. Soon our gal is the "new fish" in prison, and this is a women's prison like
no other - if it weren't for the appearance of some older women prisoners in the mix, this would almost look a
private girl's school rather than the state Penn! Lounge rocking chairs, newspapers, card games, a
"greenhouse" area, a hair stylist, manicures, the "ladies bird club", phonograph record players, and
outside - "the sun yard", a regular garden spot. These women can wear their own slinky negligees at night and
play records in their room - and one older inmate actually is allowed to keep her own little "lap dog" -
h'm.

This film is pretty good - the portrayal of the prison so far-fetched it's actually kind of a
hoot to watch. I notice the male prisoners (on the other side of the prison) don't seem to have the same conditions
as the women as they are shown in regular jail cells with bars. Anyway, Barbara Stanwyck, one of my favorite actresses
from that era, gives her usual star performance and acts up a storm - just great as she plays the world-wise gal
who'll play hard ball to get what she wants. A really fun film.
7 out of 10 found this helpful. Was this
review helpful? Yes No | Report this
 5/10

Barbara Stanwyck behind bars
blanche-225 January 2006
Barbara Stanwyck is a front for bank robbers who winds up in San Quentin in "Ladies They Talk About," a
pre-code drama. The film is badly dated with very melodramatic acting, the exceptions being Stanwyck and Lillian Roth.
Not to mention, it's an absurd story. A popular reformer, "Brother David Slade" falls for Barbara the
minute he sees her, believes her innocent, and wants to help her. He arranges for her release from jail, and then,
brimming with confidence, she confesses that she was indeed part of the bank robbery. Shattered, he sends her up the
river to San Quentin.

Once there, Stanwyck becomes a popular inmate with the exception of Sister Susie
who's in love with Slade and hates her guts. Stanwyck helps her old buddies from the bank robbery escape by
tunneling to her cell. The story goes on from there.

Lillian Roth is great as a young woman who befriends
Stanwyck, and she gets to sing. Stanwyck is fabulous with her wavy hair and tough talk. Preston Foster mainly looks
pious and sincere.

The film is interesting because of Stanwyck and Roth, but the story isn't good.
Happily this was at the beginning of Stanwyck's career, and she went on to better things.
9 out of 15 found
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 3/10

While it IS interesting, the plot is
beyond stupid
MartinHafer24 June 2007
Warning: Spoilers
This Warner Brothers picture sure is a
strange one! While you'd think that this company making a movie about women in prison during the Pre-Code era would
be a lot racier and more exciting, it really wasn't. I was pretty much expecting a Bogart or Raft style film with
women but the prison looked more like a day spa and the plot was a lot of hooey--making this a rare flop for Barbara
Stanwyck.

Barbara is the "inside man" during a bank robbery and everyone but her escapes. While in
police custody, a bizarre reformer talks to Barbara--telling her that he recognized her as a childhood friend. He wanted
to help her and since it wasn't conclusive that she was involved in the holdup, he was arranging with the district
attorney to release her to his care. At this point, she confesses that she WAS a part of the gang and he has no choice
but to tell the D.A. and she is sent to prison. Now this really didn't make any sense. Why would he stick his neck
out for someone he barely knew and why would street-wise Stanwyck confess when she about to be released? 

When she arrives in prison for a 2-5 year stretch, I was amazed, as the place seemed nicer than most Motel 6's!
The cell was decorated by June Cleaver, some of the women sat around while the Black prisoners did their bidding and
there was no violence or swearing or much of anything. Perhaps calling it "like a day spa" was overstating it
a bit, but not by much because inside they also had hair salons! In fact, considering how bad the Depression was, if
they HAD run women's prisons that way, millions of ladies would have committed crimes just to be locked up in this
nice abode! 

Well, apparently this palace of women is next door to the men's prison at San Quentin and
Barbara agrees to help some men in their escape attempt. When the attempt backfires and the guys are killed, she blames
the reformer from earlier in the story!? This really made no sense at all, but what happened next made it look like the
writers either were chimps or perhaps they'd just been drinking. After she served her full sentence, she got out
and went to murder the reformer. But after shooting him in the arm, he covers for her and they get married and live
happily ever after! I am not kidding and I am not under the influence of drugs--this REALLY is the plot. Sure, there was
a bit more to it but the outline and description of life in prison is what was in the film!


While this was shown as part of the "homosexuals in Hollywood" theme for Turner Classic Movies in
June, the image of a cigar-smoking lesbian inmate was barely noticeable and she was not a major character in the film.
Apart from a vague crack made about her and a pretty younger blonde sharing her cell, there wasn't a lot to this
aspect of the film. Of course, had the film been made a couple years later (after the strict Production Code was
enforced), this innocent enough character would have been eliminated altogether.

A dull, silly and utterly
frivolous little picture that Ms. Stanwyck couldn't have felt proud having made. It's definitely very
skip-able, but also quite watchable...if you like seeing train wrecks!
6 out of 12 found this helpful. Was this
review helpful? Yes No | Report this
 5/10

Before CAGED
nycritic16 June 2007
Warning:
Spoilers
Nearly twenty years before CAGED, LADIES THEY TALK ABOUT touched the theme of women in prison with a
much lighter touch. Barbara Stanwyck, this time, is at the helm as the ingénue sent to prison by her no-good
boyfriend played by Preston Foster, although you wouldn't know it since this prison resembles more of a posh
boarding house than the hell CAGED would present much later. Stanwyck is her usual gritty self (which is saying,
she's fierce and elevates what would have been a throwaway role) as the girl who toughens up, and there is one of
the earlier references info lesbianism thrown in as an oblique character who "likes to wrestle". It's
probably more memorable due to the fact of being made in Hollywood's Pre-Code years, but if at all for an early
Stanwyck, it's worth a shot. Look for Lillian Roth in a supporting role, one of the few she made during her short
career before collapsing into almost absolute ignominy.
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No | Report this
 6/10

Bad girl in prison
Jim Tritten11 April 2002
Early Barbara Stanwyck who
is about as bad as they get. She participates in a bank robbery, manipulates men, lies, and gets sent up to the big
house. Plot is somewhat far fetched with little character development other than for Barbara. Story revolves around
whether Barbara will again allow Preston Foster to try to save her after trusting him once and having him fail to live
up to her expectations. Stanwyck is patterned after the real life experiences and play by Dorothy Mackaye who repeats
the formula in Lady Gangster (1942). This movie is worth watching to see the early Stanwyck or the depiction of
woman's prison life. Apparently women inmates were allowed to fix up their rooms real nice and change from prison
clothes into street clothes during visiting hours -- or so Hollywood would tell us. Sure would have made it easier to
escape!
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Early pre-code drama from
Barbara Stanwyck
nickandrew4 September 2000
In the beginning of her career, Barbara Stanwyck was in many films
that are now available from MGM/UA Home Video as Forbidden Hollywood, Pre-Code dramas. This move is a foolish, little
drama of lady bank-robber Stanwyck sent to a woman's penitentiary. The cast is great, but the story is too
far-fetched.
7 out of 17 found this helpful. Was this review helpful? Yes No | Report this
 7/10

Not Bad
davidjanuzbrown20 July 2012
Warning: Spoilers
Is this a great film? Not in the least, it
was simply too short. But what actually makes it a good film are the supporting characters such as Lillian Roth as
Linda, DeWitt Jennings as Detective Tracy (Incredible that that he was not credited because his scenes were paramount to
the picture (Spoilers: He was the one who caught Nan Taylor (Barbara Stanwyck)in the first place, and he let Nan
go, when he knew Nan shot David Slade (Preston Foster)), and "Sister" Susie (Dorothy Burgess). She was the
main villain in the film, and she was in my favorite scene when she framed Nan for a letter, and Nan punched her out
Cagney Style. 

On to Stanwyck, if anyone has seen her films before: "The Lady Eve", "The Mad
Miss Manton", "Ball of Fire" "Golden Boy", "The Furies", and of course, "Baby
Face", just to name a few, know that Barbara is not the kind of woman to bring home to mother, and there some kind
of repercussions involved for being with her, and these were not addressed in this film. Most notably Spade speaking out
against politicians and newspapers. Does anyone think they would not say something about him being involved with (And
eventually marrying) a felon? That is what almost cost Courtland Trenholm (George Brent) his life in "Baby
Face" or Professor Bertram Potts (Gary Cooper) his life work in "Ball of Fire", and most notably, Walter
Neff (Fred MacMurray) who lost everything he had because of Phyllis Dietrichson in "Double Indemnity", being
involved with a Stanwyck character. Perhaps the best line about a Stanwyck character was concerning
"Sugarpuss" Katherine O'Shea in "Ball of Fire" who Miss Bragg (Kathleen Howard)referred to as
the "Kind of woman who causes the destruction of entire civilizations." I would have liked to see Nan and
Spade deal with the issues involved with their relationship. Not just the end where (Spoilers ahead) When he
announces they are getting married and her response was "well, he said so, didn't he!!". As well as the
final scene where Linda and the other prisoners read about their wedding in the paper. 7/10 stars.
2 out of 3 found
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A Stanwyck Showcase
dougdoepke20 July 2012
Part of a bank robber gang, a woman is sent to prison, while carrying on a tepid romance with an evangelist.

Stanwyck (Nan) is nearly the whole show in this early crime drama from street-wise Warner Bros. She's one tough
cookie, and when she struts cocksure into a room full of other tough prison cookies, we believe it. No wonder she had
one of Hollywood's most durable A-picture careers. But watch out for that dimpled cutie Lillian Roth (Linda) who
almost steals the film with a big helping of winsome charm. The prison tour she makes with a silent Stanwyck is clearly
intended to showcase that dimpled appeal. Too bad she had such a problem with booze; in my book, she could have been a
big star, especially in musicals.

The movie itself is just okay. Unfortunately, the supposed romance between
Stanwyck and a simpering Preston Foster undercuts much of the movie's stab at realism. But then I guess someone had
to set Nan on the straight and narrow. Clearly, the best scenes are in prison. There we see an unusual line-up of
characters, thanks to the pre-Code period. These include such exotic types as the one-and-only Maude Eburne (Aunt
Maggie) as a wacko grandmother from heck, a cigar-smoking butch matron (Dickson) whose daring type would disappear from
the screen for decades, and even an "uppity" black woman (uncredited) who takes no lip from anyone, black or
white. 

Still, it's Stanwyck's movie, and there's enough of her trademark grit to please her
many fans, myself included.
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7/10

There are two versions! Which one are you watching?
JohnHowardReid16 November 2017
Warning:
Spoilers
Barbara Stanwyck (Nan Taylor), Preston Foster (Dave Slade), Lillian Roth (Linda), Lyle Talbot (Don),
Dorothy Burgess (Susie), Ruth Donnelly (Noonan), Robert McWade (district attorney), Maude Eburne (Aunt Maggie), Cecil
Cunningham (Mrs Arlington), Grace Cunard (Marie), Helen Mann (Blondie), Harold Huber (Lefty), Madame Sul-Te- Wan
(Mustard), Louise Carter (Lefty's landlady), Harold Healy (Dutch), DeWitt Jennings (Detective Tracy), Helen Ware
(Mrs Johnson, head matron), Louise Emmons (Jessie Jones), John Hyams (bank manager), Ray Turner (bank janitor), Harold
Minjir (bank teller), Harry Gribbon (bank guard), Davison Clark (jail chief), Robert Warwick (warden), Helen Dickson
(lady with cigar), Mary Gordon (prisoner in visiting room), Isabel Withers (prisoner), Jack Baxley (man seated next to
Slade at revival meeting), Harry C. Bradley (little man in corridor at revival meeting), Tom McGuire (Farnum, an
official at revival), Ferris Taylor (man on stage at radio broadcast), William Keighley (man getting a shoeshine). 

Director: HOWARD BRETHERTON. Version released in USA (and currently broadcast by TCM) partly re-shot by WILLIAM
KEIGHLEY. Screenplay: Brown Holmes & William McGrath & Sidney Sutherland. Based on the play Women in Prison by
Dorothy Mackaye & Carlton Miles. Photography: John Seitz. Film editor: Basil Wrangell. Art director: Esdras Hartley.
Costumes designed by Orry-Kelly. Songs: "If I Could Be With You" (Roth) by James P. Johnson (music) and Henry
Creamer (lyrics); "St Louis Blues" (sung off-camera by Etta Moten) by W.C. Handy; "Are You Lonesome
Tonight?" by Roy Turk and Lou Handman. Music director: Leo F. Forbstein, conducting The Vitaphone Orchestra. Music:
Cliff Hess, Stills: Homer Van Pelt. Assistant director: Ben Silvey. Sound recording: Charles Althouse. Producer: Raymond
Griffith. A Warner Bros. Picture. 

Not copyright. Worldwide release through Warner Brothers Pictures, Inc.
U.S. release: 25 February 1933. New York opening at both the Capitol and Loew's Metropolitan: 24 February 1933.
U.K. release: 15 July 1933. 69 minutes

SYNOPSIS: Evangelistic reformer falls in love with a gun moll from his
old home town.

NOTES: Harold Huber does not appear in the Howard Bretherton version released in England (and
presumably also in Australia). In the Bretherton movie, Lyle Talbot visits Stanwyck in prison. In the Keighley version,
Talbot was instead substituted for one of the escapees and was, by clever intercutting with the Bretherton footage,
killed. In the Bretherton version, the two men were merely caught. This does give the heroine a better reason to shoot
Slade and makes her action more believable.

COMMENT: Unless you're aware that Keighley directed part or
all of several key scenes, the work of the two directors is hard to pin down. The Lillian Roth footage is obviously
Bretherton's work, but the impressive scenes with Ruth Donnelly and her white cockatoo were probably also his. 

And what about the three very striking encounters between Stanwyck and DeWitt Jennings in which the sparks fly
(even under what seems to be a civil surface)? And how about the Preston Foster revival material with its sweeping crowd
shots? 

Yes, if you can disregard the somewhat incredible story-line (easy enough to do while the quick-paced
movie is actually running) and its remarkable picture of a women's jail (allegedly San Quentin, according to some
reviewers), you can accept (and enjoy) the theatricality of the milieu without question. On this basis, "Ladies
They Talk About" emerges as a most fascinating movie with acerbic portraits all down the line, particularly from
Stanwyck's chiseling, chip-on-the-shoulder heroine, Foster's self-first reformer, Dorothy Burgess's
numbingly accurate study of a religious fanatic and Robert McWade's opportunistic district attorney. 

It's also good to see Lillian Roth in a sizable role (and given a chance to sing too).
1 out of 1 found this
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 6/10

A Simple Story With Stanwyck Starring
atlasmb25 January 2017
Don't expect much in the way of pre-Code titillation with this simple film adapted
from a play. What you do get is a starring vehicle for Barbara Stanwyck, who plays the moll of a gang who robs banks.

After being apprehended, she is sent to San Quentin, where she learns to live with prison rules and the social
structure there. She's a tough cookie, always looking to assert herself, even on her first day of captivity.

Except for the presence of guards, life as depicted in the women's prison is much like "Stage
Door", with a leisurely, genial attitude. Comic touches abound in this film, like the scene where one inmate sings
to a headshot of Joe E. Brown, of all people.

While Stanwyck is strong in her role and Preston Foster is
solid in his briefer portrayal of the revivalist who never gives up on her, "Ladies They Talk About" has a
story too simple to challenge the viewer or, for that matter, the actors themselves. And the drama is minimal.

But it's fun to see Stanwyck in one of her earlier films.
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 7/10

Lesbian Smokes a Cigar
whpratt112 June 2007
Barbara
Stanwyck, (Nan Taylor) plays the role of a gal who came from the school of hard knocks and has joined up with some
gangsters and they plan to pull off a bank robbery. Nan acts as a decoy and convinces the bank guard to open up the bank
early so she can make a deposit and carries in a small dog and hands it to the guard, and right behind her the gangsters
friends follow in and rob the bank. A detective notices Nan in the bank and remembers her face from previous criminal
events she got herself into and arrests her. Dave Slade,(Preston Foster) plays the role as a preacher politician, and
remembers Nan from their childhood days and tries to free her of all the charges against her, however, Nan tells him the
truth and she winds up in prison with plenty of women who are all a bunch of wild characters. There is even a butch
lesbian who likes to smoke cigars and wrestle with other gals. This is a great classic film with veteran actor Lyle
Talbot, (Gangster Dan) who breaks into Nan's cell along with her gangster friends in order to bring her back to
their world of crime.
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 7/10

Strange Film
David_Brown21 July 2012
Warning: Spoilers
This is a hard film to review.
There is a lot to like and a few things to dislike in it. So lets break them down: The bad: 1: The parrot scene with the
ugly black woman. The entire scene made me cringe. There was no benefit or reasoning behind this scene even being in the
film. 2: The length of the film. It was only 69 minutes. There was a lot of story to tell and there simply was not
enough time to tell it in. Stuff like the parrot scene, and not getting into depth David Slade's (Preston Foster)
opposition to politicians and the newspapers was a major mistake. If you don't think the politicians and papers
would have had a field day with him being involved with and spoilers ahead: Marrying a convicted felon like Nan
Taylor (Barbara Stanwyck), and then you believe in Santa Claus. In addition, Stanwyck is almost always worth watching
(Except "Walk On The Wild Side", a film without a single redeeming factor). So show us more about her (Like
why she went from a preacher's daughter to being so rotten (Which is what they did in her next film "Baby
Face")). The good: 1: Linda (Lillian Roth: She was really my favorite character, a person who was probably a lifer
(Based on the fact she was in San Quentin before Nan got there and after she left), yet she never became a hater, and
all she wanted was friendship from Nan. I usually detest singing in a film, but the scene (Spoilers ahead) of her
singing to a photo of Dick Powell was well done. 2: Stanwyck: As usual I like her in this film, and in particular
(Spoilers) when she punches out "Sister Susie" (Dorothy Burgess), for framing her over a letter. This
is what you could have expected from Cagney. Also when Susie calls the cops for shooting Slade, and she makes her look
pathetic by putting a "Do Not Disturb" sign over the keyhole where she was peeking, and this little exchange
with Susie: Susie: Say, there isn't any punishment bad enough for you! Nan Taylor: Yeah? Well, being penned up here
with a daffodil like you comes awful close. It is a strange film, because Roth & Stanwyck were so good, it could
have been a classic, but the parts I disliked (Particularly the parrot scene) really were that bad, I had to deduct
stars from it. 7/10.
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 8/10

Watch it if you like Barbara Stanwyck
Antonius Block5 February 2017
If you're not a Barbara
Stanwyck fan, you should skip this movie. It's a pretty silly story, the scenes in prison are far too comfortable,
and there are a couple of cringe-inducing, racist scenes showing African-Americans frightened as if they were stupid
children. If you are a Barbara Stanwyck fan, however, you will probably like this movie at least enough to watch it, and
perhaps as a guilty pleasure. She simply has an amazing screen presence, and it's fascinating to see her in the
role of a streetwise criminal. She has scenes ranging from 'tough girl' to one hopeful for love and a second
chance, and she goes all out in her anger in one scene towards the end, with spittle flying and really letting loose.
Much is made of the lesbian reference in the prison ("she likes to wrestle", indicating a butch looking woman
smoking a cigar), but it's a passing thing and made me smile, as did the old madam reminiscing about the men coming
to her "beauty parlor" for "manicures". It's all pretty tame for a pre-Code film. Of her fellow
actors, DeWitt Jennings stands out in the role of the detective who consistently sees through Stanwyck, but she's
the one to watch the film for.
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6/10

One of the Earliest Women-in-Prison Films
Uriah438 December 2015
Warning: Spoilers
"Nan Taylor" (Barbara Stanwyck) has been in and out of trouble ever since she was a teenager. When she gets
older she joins a small gang of like-minded individuals and together they come up with a plan with her managing to get
inside the bank prior to the normal opening time and then distracting the guard long enough for them to gain entry and
rob it. Unfortunately, she is identified by the detective and is sent to jail pending charges being filed. While there
she meets a crusading anti-crime evangelist who gains her trust and then subsequently informs on her out of a sense of
conscience. This enrages her and she manages to stay angry the entire time she is in prison. Now rather than reveal any
more I will just say that this is probably one of the earliest Women-in-Prison (WIP) films made and it turned out to be
pretty good. Naturally, being made over 80 years ago it doesn't have the sex, violence or exploitation seen in
today's movies but that's to be expected. Even so, it does have a pretty good plot which is negated a bit by
the short running time of only 63 minutes. All things considered, I thought it was fairly enjoyable and I have rated it
accordingly. Slightly above average.
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this
 7/10

Best when playing for laughs
MissSimonetta16 July 2015
Warning: Spoilers
Though produced by Warner Bros. at the dawn of the 1930s, this women's prison picture is not much of a social
issue drama. Ladies They Talk About (1933) often feels more like a dark comedy than anything else. Barbara Stanwyck
plays a tough-talking bank robber who falls for a crusading religious man. He falls for her too, but her past
doesn't stop him from having her tossed into the slammer for five years.

The plot and love story are
mostly bunk. The highlights of the film are the examination of life inside the prison, the way all of these women
interact. Unfortunately, the film is marred by unpleasant racial stereotyping and an ending which does not ring true.
Stankwyck fans and lovers of pre-code will dig this though.
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 7/10

Women in prison definitely feel caged.
mark.waltz21 April 2015
Warning: Spoilers
Long before such heroines as Eleanor Parker and Shirley Knight were referred to
"fish" in such prison movies as "Caged" and "House of Women", none other than Barbara
Stanwyck got her chance to put on prison frock and bitch-slap someone who crossed her. Her back story is explored before
she enters San Quentin's women's detention center, as she is first seen after the opening credits calling the
police to warn them about a man running amuck with a knife stabbing people. It's all the set-up for a clever
robbery, but she's instantly recognized and put on trial. She attracts the attention of Reverend Preston Foster, an
attractive former slum kid she knew years before, but when she confesses, she's sent up the river and secretly vows
revenge. In prison, the women inmates look on at her with curiosity to test her, and when she tells off Dorothy Burgess
(an obviously hated prisoner obsessed with Foster), she immediately wins the rest of the prisoners over. One in
particular, Lillian Roth, becomes her best pal, while even the prison matrons (particularly an Irish accented Ruth
Donnelly) come to like her as well.

But efforts from Foster to get her to repent go unresponsive until
Stanwyck sees her way to use him in order to get an early release. This results in violence concerning her ex-boyfriend
Lyle Talbot (one of the bank robbers) and her desire for vengeance increases. Good behavior leads to release, and a
possible violent encounter with the sniveling Burgess present as a witness, leading to a conclusion that only a few
months later would have been unthinkable in Hollywood films. Stanwyck plays the leading lady with gusto, as ruthless as
she was in "Baby Face", yet with that hint of vulnerability under the surface, and it is obviously roles like
this that aided her in playing the nefarious roles she started over a decade later with the advent of film noir.

The women in prison are a hysterical bunch, with Ms. Roth comically singing "If I Could Be With You"
to a portrait of none other than fellow Warner Brothers contractee Joe E. Brown. This is followed by shots of the
various women in their cells, including murderous society queen Cecil Cunningham and her Pekingese and a manly cigar
smoking prisoner (listed in IMDb credits as a matron) whom Roth had previously warned Stanwyck, "She likes to
wrestle". There's a very racist (but funny) moment concerning black prisoner Madame Sul-Te-Wan in a
confrontation with Cunningham over "washing her drawers" and Donnelly's presence with a white cockatoo,
probably the same one used in a later Warner Brothers movie as the titled character.

Of the prisoners, it is
Maude Eburne who steals every moment as "Aunt Maggie", an obvious former madam, delivering an innuendo in
every line, and protecting Stanwyck after one particularly nasty confrontation with the religiously obsessed Burgess.
"The poor girl just fell down", she tells the head matron after Stanwyck punches her lights out, and with
every other prisoner laughing their heads off, it's obvious even to the matron that Burgess didn't just fall
down and go boom. Down the list of minor players is none other than Mary Gordon who shows that the kindly landlady and
Scottish mother of many a film (including Sherlock Holmes' Mrs. Hudson) could be more than just what audiences had
seen her do so many times.
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6/10

OK for Stanwyck, but not her best
debcha573 November 2014
Good; but not great, role for
Stanwyck. The producers erred in one major way with the making of this film, in that they made it in 1933, and the new
prison for women in CA. had opened in 1932 at Tehachapi, so whoever was responsible for the story was not paying much
attention to the timeline or the news of those days and times. Otherwise good film-what can I say? I am a nit-pick and
like to research the making of films that I enjoy watching.

To be truly forthright the only reason I chose to
research this one is because I recently watched (again!) "I Want to Live" with the great Susan Hayward and
that was a true story that took place in the 1950's about Barbara Graham who was executed in San Quentin, but
resided at Tehachapi until the day before her execution, when she was transported to San Quentin for execution the
following night. Therefore, I was not even aware that they had ever even housed female inmates at San Quentin; thus I
was moved to research how correct this film was.
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 5/10

Stanwyck gives her all to corny script about a woman in
prison...
Neil Doyle11 June 2007
LADIES THEY TALK ABOUT is a really hokey melodrama, an early BARBARA STANWYCK
film that has her as an accomplice in a bank robbery and serving time in prison. Meanwhile, she has an affair with
PRESTON FOSTER which really makes no sense at all. She hates him all through the film for various reasons and even
shoots him in a heated moment toward the end, but then relents and discovers that she's been in love with him all
along.

It's amusing to watch all the pre-code attempts to give the film some realism with implied
relationships of a lesbian nature, but at least RUTH DONNELLY is on hand in a key supporting role as one of the prison
matrons with a unique way of scaring inmates.

It's Stanwyck's performance that saves the film from
complete banality. She gives every scene the punch it needs with a tough performance that still manages to show some
vulnerability. LILLIAN ROTH is just okay as a fellow prisoner showing her the ropes and LYLE TALBOT is on hand as her
doomed boyfriend.

Nothing special as far as prison dramas go, but whatever it has it owes to Stanwyck.
PRESTON FOSTER, without his trademark mustache, has a role that makes almost no sense, especially in that final scene
where he protects her for seemingly no good reason.

Summing up: Worth a look for Stanwyck's
performance.
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 3/10

Ridiculous and Shrill
bkoganbing29 May 2012
By force of personality, one of the best the screen ever saw,
Barbara Stanwyck put over many a film, especially if she had something to work with. But there were films where even she
could do nothing with the potboiler material she got and Ladies They Talk About is definitely that kind of material.

The odd thing is that this with a little more subtle treatment could have been as remembered a women's
prison picture classic like Caged. There are moments here, but few and far between.

Stanwyck is in a role
that probably Joan Blondell was too busy to do. She's a wisecracking Depression Era babe getting by on her wits and
looks. She's the front for a gang of bank robbers headed by Lyle Talbot. As the film opens Stanwyck and the gang
rob a bank with them getting away and Barbara being caught. She goes to prison, but not before running into radio
personality and 'reformer' Preston Foster who was from their old home town. Later on Talbot and company also
get arrested and are in the men's section of the same prison.

After this the plot gets so ridiculous and
shrill that it boggles the mind. Barbara still loves Foster buts hates him as well for what she conceives as betrayal.
It really was actually, but that depends on your point of view.

And Foster actually looks embarrassed on
screen mouthing a lot of sanctimonious blather. He's a 'crusader' whatever that means. The best way you
can describe him is he's a kind of a Billy Sunday without the degree from the seminary. Foster must have kicked and
screamed about this part and should have fired his agent.

The best scenes are in the prison and they hold up.
But overall the film is horribly dated with characters that people would laugh off the screen today.
2 out of 10
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Stanwyck
Michael_Elliott28 February
2008
Ladies They Talk About (1933) 

** 1/2 (out of 4) 

Pre-Code from Warner about a woman
(Barbara Stanwyck) sent to prison after helping commit a bank robbery. She befriends a preacher who says he loves her
but she begins to have her doubts. What starts off as a rather interesting prison drama soon falls apart with the sappy
love story. Another major problem is that Stanwyck's character is such a mean bitch you can help but want to see
her dead and the ending really kills the film.

You can catch this on TCM.
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Ladies They Talk About (1933) DVD5 - Barbara Stanwyck, Preston Foster [DDR]	1 Year+ - in Movies	4.22 GB	0	0
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Ladies They Talk About 1933 1080p BluRay x265-RARBG	1 Year+ - in Movies	1.08 GB	0	1
Ladies They Talk About 1933 1080p BluRay H264 AAC-RARBG	1 Year+ - in Movies	1.32 GB	0	0
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