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Mad Youth
Mad Youth

Mad Youth (1940)

46% User Rating
1h 16min
Drama

"Are Modern Mothers to be Blamed for the Wild Escapades of Their Sons & Daughters?"

A rich society mother hires a male escort, but he falls for her daughter instead. The mother-daughter conflict forces the daughter to run off to stay with a friend who is enslaved by a prostitution ring.

Melville ShyerDirector

Cast

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Mary Ainslee

Mary Ainslee

Marian Morgan

Betty Compson

Betty Compson

Lucy Morgan

Willy Castello

Willy Castello

Count DeHoven

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Betty Atkinson

Helen Johnson

Tommy Wonder

Tommy Wonder

Harry

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Lorelei Readoux

Beth

Margaret Fealy

Margaret Fealy

Helen's Grandmother

Donald Kerr

Donald Kerr

Taxi Driver

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Ray Hirsch

Jitter Bug

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Patti Lacey

Jitter Bug

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Eugene Taylor

Jitter Bug

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Aileen Morris

Jitter Bug

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Maxine Taylor

Jitter Bug

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Pearl Tolson

Jitter Bug

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Monte Collins

Stewart - Singing Bridge Player

Steve Clemente

Steve Clemente

Knife-Thrower in Club Act

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Glen Dennison

Jitter Bug

Florence Dudley

Florence Dudley

The Madam

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Jack Hendricks

Brawler

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Clyde McClary

Brawler

Ethelreda Leopold

Ethelreda Leopold

Blonde Secretary

Fay McKenzie

Fay McKenzie

Escort Girl

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Bruce Mitchell

Policeman

Noel Neill

Noel Neill

Teenager

Hal Price

Hal Price

Escort Bureau Manager

Donald Reed

Donald Reed

Club Emcee

Reviews (1)

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CinemaSerf
CinemaSerf
Rating 50%

June 23, 2022

To give this it's due, it does try to deal with some rather more grown up themes, but somehow the whole thing just falls a bit flat. In a sort of spin-off from "The Lady Refuses" (1931), this time "Lucy" (Betty Compson) - not averse to a gigolo or two of her own, takes umbrage when her daughter "Marian" (Mary Ainslee) falls for the "Count DeHoven" (Willy Castello), her mother's latest rent-a-beau who engages in his task with great gusto. As we all expect from the outset, he manages to fall for "Marian" and the ensuing conflict exposes the younger girl to the nefarious activities of a seedy vice operation. Will she be saved from this life of degradation? Will the "Count" grow a pair...? Some of the "entertainments" in the establishment in which she ends up working raise a smile or two - especially the torero with his canine "bull" - but for the most part it's a rather unremarkable menage-à-trois depiction of what could have been a more grittily presented exposé of the rather shallow lives of the nouveau riche of the time. There is little by way of chemistry on the screen from any quarter and the dialogue - aside form the odd one-liner from Ainslee, drags somewhat. It's OK. Nothing more.

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