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Private
Number
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Private Number This effort to turn a literary lemon into a cinematic peach appears to have been more than slightly successful. For, despite its several shortcomings, a few of which are downright terrible, 'Private Number' has a couple of things in its favor, and these are likely to carry it though at the box office. For one thing, it has Robert Taylor and Loretta Young co-starred, and that combo being hot at the moment, automatically sends it down to first. Then it has the benefit of an exceptional production job, and that also is bound to count. It wasn't a matter of enhancing the script, but of overcoming it, and that has been accomplished through the technical and casting departments and the director. All in all, the picture is a good example of the art of making something out of practically nothing. Story is billed as having been adapted from a play by Cleves Kinkead. No mention that the play was 'Common Clay.' No necessity for mentioning it, nor even in crediting Kinkead, however, since this version inherits little from its source except a bit of moralizing that qualified for an old age pension years ago. The role of Ella Neal was originated in 1915 or thereabouts by Jane Cowl in a hit show under the 'Common Clay' title, and later played on the screen by Fannie ward (silent) and Constance Bennett (talker). Miss Bennett's whack at the downtrodden ingenue assignment was as recently as 1930. Miss Young has had the pat name of Ella Neal passed down to her, but little else. In fact the latest whitewashing of this venerable museum piece has been so thoroughly done, that this part and that of Coakley, a human rat, are the only ones still bearing their original monickers. The hero now is called Richard Winfield, and he's a very decent sort of chap. All other characters are likewise brand new. But despite the changes and a rewrite job that makes it an almost entirely different and modern story, the adapters have failed to resist the temptation to moralize. Kinkead made no bones about pointing with scorn, but Gene Markey and William Conselman, who batted this version otu, try in vain to be topical and frivolous and write a 'lesson' at the same time. Their marriage of the rich young man to his mother's servant girl is not nearly as shocking as the synthetic situations and overstressed plight of the boy and girl would have it appear. The point overlooked entirely by the authors is that if there were more servant girls like Loretta Young, home would not only be sweet, but also hot. The dialog bends itself into knots in pointing out the fact that there is a profound difference between a millionaire and a maid, and then after making a serious problem of it, turns around and seeks to solve and salve with a courtroom twist and hammock finish that lack both reason and conviction. The marriage is a rather simple affair between two young people who love each other, and not badly written or conceived, but the complications quickly get under way and crab the works. there's a despicable butler who exacts kickbacks from the help and who tries to put the grab on the new household looker, and the family opposition to the marriage, and the framing of the girl for annulment purposes—and a baby. And this time the baby is legit. Taylor and Miss Young must be good to look good under these conditions and their performances attest to their talent as well as their ability to take it. Miss Young is not so badly off, because she's permitted to dress more stylishly than the rich lady she works for, and because she gets all the sympathy. Also, she has her baby as competently as Bennett or Harding ever did. Taylor has the more difficult assignment of alternating as a valiant and a sap. There are other good performances. Basil Rathbone is swell as the butler-heavy. Patsy Kelly has the comedy lead, and her sloppy style once again bolsters a picture in its weakest moments. For a running mate this time the comedienne has Joe Lewis, in his first picture and doing a corking goof. The nitery m.c. should go places in pix. Marjorie Gateson, Paul Harvey and Monroe Owsley do their jobs well. 'Private Number,' as a title for what goes on in the picture, offers exhibitors another chance to run a guessing contest. If the studios continue picking labels out of a hat as they've been doing lately, it's an idea that could take the place of bank nite. Bige. —Variety, June 17, 1936 |
The story wasn't unique. It's a version of boy meets girl, boy loses girl, and then boy and girl are reunited for a happy ending. This specific version of poor servant falls in love with rich playboy has been seen before, too. Private Number was based on a 1915 play called Common Clay by American writer Cleves Kinkead. As a stage attraction it was very popular.
In 1919 the play was made into a film with Fannie Ward in the lead. This 1919 silent film was directed by George Fitzmaurice and written by scenarist Ouida Bergere, who became Basil Rathbone's wife in 1926.
A talking film, still called Common Clay, was made in 1930 with Constance Bennett in the lead. Private Number is yet another remake.
 Wroxton gives the servants a hard time. |
 Wroxton gives the cook a hard time. |
The working titles for the film were Confessions of a Servant Girl and Servant Girl. The producers finally settled on Private Number—an odd choice for a title because the film doesn't involve any private phone conversations or a private phone line. In Great Britain the film was released as Secret Interlude.
Rathbone signed a contract to play the butler in Private Number on March 9, 1936. The film was completed on April 30, and released in the USA on June 5.
Private Number did well at the box office. It was the first picture in 8 years to run 4 weeks at the Fox Theater in Philadelphia. The film ran three weeks in Cincinnati and two weeks in Seattle, Milwaukee, Chicago, Kansas City, Louisville, Indianapolis, Denver, Dallas, New Orleans, and Providence.
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PRIVATE NUMBER GOOD MARQUEE CAST BUT HODGE-PODGE STORY MAKES THIS AMUSING TOP FARE FOR THE NOT TOO CRITICAL. They threw everything but the kitchen sink into this one, with situations running from sweet romance to slapstick and on through melodrama and a courtroom scene denouement to the rosy finish. Basically, it is just the story of a pretty servant girl who marries the college boy son of the rich family for whom she works. But the trimmings that the scripters gave this simple situation doesn't miss a trick. There is Basil Rathbone, the butler who hires and fires and takes a cut from every servant's pay envelope, and who immediately goes on the make for Loretta Young, the new servant girl. Patsy Kelly, another maid, runs interference whenever it looks as though Loretta is in basil's clutches. after Loretta secretly marries the hero, Robert Taylor, and his family moves to annul the match, Basil resorts to more dirty work in order to further his own fiendish ends. But Bob finally comes to his wife's defense and gives Basil and uppercut that sends him into a backflip. Miss Young and Taylor register despite the drawbacks of their roles. Rathbone, who is even more handicapped with heavily written meller lines, exerts manful effort. Miss Kelly's comedy is a treat. Direction, Mixed. Photograph, Good. —The Film Daily, June 12, 1936 |
"Bless my soul, if it isn't good old 'Common Clay' again. There are a couple of new touches, to wit, Basil Rathbone playing a lecherous butler on the make for Loretta, and Patsy Kelly playing another servant girl who befriends Loretta. The picture has been given a lavish production." —Silver Screen, August 1936
 Ellen fights off unwanted advances. |
 Wroxton is angry with the chauffeur. |
"The story is redolent with gallantry and undying love, made plausible and sympathetic by the attractive stars. ... The lovers fail to take into consideration ... the old blackguard of a butler, Basil Rathbone, who has evil designs on the fair young maid." —Modern Screen, August 1936
Private Number This is typical Hollywood fare, as Loretta Young makes the most of her long eyelashes and tremulous smile in the role of an inexperienced lady's maid in the house of Winfield. Robert Taylor, as Richard Winfield, the scion of the family, provides the romance with Miss Young. Their romance is handicapped by the machinations of Basil Rathbone, as the domineering butler, but it flourishes at the summer home in the Maine woods. The boy goes back to college and the maid discovers she is going to have a baby. The family throws her out and starts annulment proceedings, but to protect the baby's name she fights the case in court. The courtroom scene is calculated to draw audience tears, and concludes with a surprise punch. The happiness of the couple closes the film in the expected fashion. Miss Young is as appealing as ever. Taylor is less boyish than usual and offers a more finished performance. Patsy Kelly as the assistant maid is good and brings many laughs. Joe Lewis, Marjorie Gateson, Paul Harvey, Jane Darwell, Paul Stanton and Jon Miljan have minor roles. Entertainment is provided in the appearance of Hamlet, a Great Dane. Roy Del Ruth directed from a screenplay by Gene Markey and William Conselman. —Motion Picture Daily, May 18, 1936 |
"Basil Rathbone is perfectly beastly as the butler." —Hollywood, July 1936
 Young Mr. Winfield is attracted to the new maid. |
 Wroxton gets a call from Ellen, who has been arrested. |
"Outstanding characterizations are given by Robert Taylor, Loretta Young, and Patsy Kelly, but honors go to Basil Rathbone, as a fiendish, chiseling head butler." —Variety, 16 May 1936
See Page Two for more photos and reviews from the film. See Page Three for pictures of posters, lobby cards and promo photos.
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Private Number is available on DVD
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