Here is a review I wrote for Amazon and the IMDB.
It’s a story about Washington D.C. It’s about dirty tricks, sleazy operatives, scurrilous personal attacks and lies. The 2012 presidential campaign? No, “The Gorgeous Hussy.”
Many people have noted that “The Gorgeous Hussy” is not historically accurate. This is true and at the beginning of the picture they call it “fiction”-drawn from real characters, but definitely fiction. What did you expect? It’s MGM in 1936. There is a huge budget, lavish production values, beautiful costumes (male and female), top-notch acting and, of course, romance.
The story centers around Peggy O’Neill, Joan Crawford, an innkeeper’s daughter called “Pothouse Peg,” for her politics and her men. The men are a list of Metro’s best—Robert Taylor, Jimmy Stewart, Franchot Tone, Melvyn Douglas and Lionel Barrymore. Robert Taylor dominates the first quarter of the picture with his enormous energy, his playfulness, his rapport with Crawford and his skin-tight costume. Taylor even sings and dances.
After Bow Timberlake’s (Taylor’s) heroic off screen death, things settle down. Andrew Jackson (Barrymore) dominates every scene he’s in. Beulah Bondi, as Rachel Jackson, is equally good. She won an Oscar nomination for her role.
Joan Crawford is usually criticized for appearing in an historical picture because she was too “modern.” Here she handles her costumes beautifully, using her skirts to express a range of emotions. While her acting is fine, she is overwhelmed by the male contingent.
Franchot Tone, Crawford’s husband at the time, is quietly effective as Peg’s second husband John Eaton. Melvyn Douglas brings strength and intelligence to his role as Virginian John Randolph. Jimmy Stewart is wasted as Peg’s failed suitor.
“The Gorgeous Hussy” is fun, sometimes moving and a reminder that political behavior wasn’t all that different in the 1820s.