Bought (1931)

83 mins | Drama | 22 August 1931

Director:

Archie Mayo

Cinematographer:

Ray June

Editor:

George Marks

Production Designer:

Esdras Hartley

Production Company:

Warner Bros. Pictures, Inc.
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HISTORY

According to Var , Constance Bennett was making a weekly salary of $30,000 while working on this film. Richard Bennett was Constance Bennett's father in real life, and this was their only film ... More Less

According to Var , Constance Bennett was making a weekly salary of $30,000 while working on this film. Richard Bennett was Constance Bennett's father in real life, and this was their only film together. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Film Daily
16 Aug 31
p. 10.
HF
16 May 31
p. 24.
HF
6 Jun 31
p. 16.
Hollywood Reporter
9 Jul 31
p. 3.
Hollywood Reporter
19 Aug 31
pp. 4-5.
International Photographer
1 Sep 31
p. 28.
Motion Picture Herald
24 Jan 31
p. 24.
Motion Picture Herald
18 Jul 31
p. 38, 40
New York Times
15 Aug 31
p. 18.
Variety
18 Aug 31
p. 17.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PHOTOGRAPHY
Photog
2d cam
Asst cam
Asst cam
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
SET DECORATOR
Settings supv
MUSIC
Vitaphone Orchestra cond
PRODUCTION MISC
Still photog
SOURCES
LITERARY
Based on the novel Jackdaw's Strut by Harriet Henry (New York, 1930).
AUTHOR
DETAILS
Release Date:
22 August 1931
Production Date:
mid May--mid June 1931
Copyright Claimant:
Warner Bros. Pictures, Inc.
Copyright Date:
8 September 1931
Copyright Number:
LP2461
Physical Properties:
Sound
Black and White
Duration(in mins):
83
Length(in reels):
9
Country:
United States
Passed by NBR:
No
SYNOPSIS

Stephanie Dale, a young girl who is excessively concerned with social status and dreams of a rich lifestyle, lives with her mother in modest surroundings and resents her mother's working class sensibilities. When told that her parents were never married, and that her father was a pretentious character who has been dead for many years, Stephanie concludes that if he were still alive she would be a debutante. Determined to better her life, Stephanie pursues a modelling job at Rapello's Gowns, which she gets when she catches the eye of an executive, David Meyer. After Stephanie returns home one day and discovers that her mother has died, she moves out and finds a place of her own where she can finally be the socially discriminating, high-strung woman she has always wanted to be. Stephanie and David quickly develop a special friendship, and though David shares her interest in books and luxury, Stephanie is unsure whether or not she likes him because he wears diamonds and makes noises while he eats. However, when Stephanie compares David to Nick Amory, her friend who works at a publishing house, David's companionship appears all the more desireable. One evening, while waiting in Stephanie's living room before going to the opera, David notices a picture of her mother and is transfixed by it. When David asks Stephanie about her father, she tells him that he was a prominent officer in the Indian army, and that he knew Rudyard Kipling intimately. Through her friendship with David, Stephanie meets the kind of people with whom she has always wanted to associate, and at a glamorous party attended by fashionable people, ... +


Stephanie Dale, a young girl who is excessively concerned with social status and dreams of a rich lifestyle, lives with her mother in modest surroundings and resents her mother's working class sensibilities. When told that her parents were never married, and that her father was a pretentious character who has been dead for many years, Stephanie concludes that if he were still alive she would be a debutante. Determined to better her life, Stephanie pursues a modelling job at Rapello's Gowns, which she gets when she catches the eye of an executive, David Meyer. After Stephanie returns home one day and discovers that her mother has died, she moves out and finds a place of her own where she can finally be the socially discriminating, high-strung woman she has always wanted to be. Stephanie and David quickly develop a special friendship, and though David shares her interest in books and luxury, Stephanie is unsure whether or not she likes him because he wears diamonds and makes noises while he eats. However, when Stephanie compares David to Nick Amory, her friend who works at a publishing house, David's companionship appears all the more desireable. One evening, while waiting in Stephanie's living room before going to the opera, David notices a picture of her mother and is transfixed by it. When David asks Stephanie about her father, she tells him that he was a prominent officer in the Indian army, and that he knew Rudyard Kipling intimately. Through her friendship with David, Stephanie meets the kind of people with whom she has always wanted to associate, and at a glamorous party attended by fashionable people, Stephanie meets Charles Carter. Stephanie and Charles immediately fall in love and Stephanie becomes upset that David continues to visit her. To ward David off, Stephanie tells him that she plans to marry Charles. Stephanie soon forsakes her old friends, and when Nick Amory, celebrating his new raise, asks Stephanie to marry him, she refuses. Meanwhile, Charles learns that Stephanie is an illegitmate child and calls off their wedding. Realizing her folly in falling for such a snob, Stephanie returns Charles' ring and resumes her association with "real people." One day, when Stephanie receives a book from David, she goes to apologize for her behavior toward him. At David's, she browses through his first edition library and, to her surprise, finds Nick there, waiting for her. After the two reconcile, Stephanie examines David's library more closely, notices the collection of Kipling books, and deduces that David is her father. David, overjoyed by Nick and Stephanie's reunion, makes arrangements for their marriage. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.