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Character's Name: Andre Charville
Release Date:  July 24, 1936
Director: George Fitzmaurice
Studio:  Metro-Goldwyn-Mayer
Running Time: 95 minutes

Cast:  Jean Harlow (Suzy Trent), Franchot Tone (Terry Moore), Cary Grant (Andre Charville), Lewis Stone (Baron), Benita Hume (Mme. Diane Eyrelle), Reginald Mason (Captain Barsanges), Inez Courtney (Maisie), Greta Meyer (Mrs. Schmidt), David Clyde (Knobby), Christian Rub (Pop Gaspard)

- by Zoë Shaw
Suzy marries Terry, an Irish inventor. She thinks he's been killed by a spy, and goes to Paris. There she marries Andre (a famous French flyer). Terry is not dead, and comes to Paris to work for Andre. Andre is then killed by the spy, Mme Eyrelle, while Terry is flying. When Terry lands the plane, he and Suzy put Terry's body in the plane so that people will think he was killed in combat. It works, and Suzy and Terry begin a new life together.

- by Anna Morgenier
Suzy is a well written movie that takes place during the war in 1914. Cary Grant in convincing in the role of our hero Andre. Franchot Tone , as always , plays his role as if it's no effort at all and pulls it off beautifully. Jean Harlowe's heroine is both wonderful and tragic. I ran an entire gamut of emotions during the film. The ending is not typical for all lovers of Cary Grant movies. I would say that most admirers of Cary Grant will not put this movie on their top 10 list. Although well played out, most will not enjoy seeing Mr. Grant in a role such as this.

VARIETY Film Review - July 29, 1936
- by "Chic"
- submitted by Barry Martin
One of those hit-at-all-hazards concoctions that may bore in the deluxers, but which will appeal to less discriminating audiences, though Jean Harlow does not quite square herself for a clumsy bigamy, and the scenarist does not help much in smoothing this and other incongruities. 

Dramatic angle hinges on Suzy's flight from London when a German spy pops off her newly acquired husband and tosses the gun into the room.  The landlady assumes that Suzy did the shooting and calls the police, while Suzy goes down the back stairs, supposing Terry, her husband, to be dead.  She flees to Paris, where a former chorus pal helps her to a cabaret job.  She meets and marries Andre, a French aviator who makes Richthofen look like an amateur glider pilot.  Andre turns out to be a cheater and is shot by the same spy who popped Terry, who, meanwhile, has turned up, very annoyed at Suzy.  But he's a game sport and saves his rival's reputation by taking over a flight, crashing the plane at the chateau where Andre lies dead and letting it be inferred that it was the later who crashed, providing a moving finish as Suzy stands before the escadrille to listen to the official notice of sympathy.

In the original novel Suzy was far from being the tender lamb she is made in the picture, which dispensed with the bigamous angle.  In the film much explanation does not quite acquit her of being too precipitate and her looseness militates against her.  There are a number of other rough places the dialog simply cannot smooth out.  Dialog is generally too flippant and forced to give conviction to the situations, but the story bristles with surefires, starting with a generous dressing room sequence, a race scene with Suzy betting on an outsider at 20-1 and bringing home the bacon, a well written scene in a war-time railroad station where Lewis Stone, as Andre's father, makes him be nice to Suzy, though Andre has played hookey all through a visit to Paris.  There is some gorgeous flying stuff with cloud effects out of the files and a few feet of air stuff apparently made for this picture.

But all through the scenarists have put in the punch whether it belongs or not and the general effect would seem to justify this treatment.  It's cheap, sometimes tawdry, but for the moment it appeals. 

Miss Harlow works hard and generally to good effect.  She lacks a little in the more serious moments, but Harlow fans do not expect more acting and are likely to be content.  Franchot Tone has the job as the first husband and shades nicely from the carefree youngster of the earlier scenes to the more serious minded airplane expert at the front.  On the other hand, Cary Grant contributes a fine performance as Andre, but cannot wholly overcome the handicap of his cheating proclivities.  Lewis Stone is sympathetic as Andre's father, who comes to love his daughter-in-law, and for whose sake Suzy seeks to preserve the honor of the boy's name.  Benita Hume is good, if stereotyped, as the spy, and Inez Courtney plays the chorus girl friend right up to the hilt.  Her exit from the scene about midway is to be regretted, though she would have stolen too many of the later scenes had she been permitted to remain.  This comedienne has been coming along in great style in pix of late.

Photography, save for some library war stuff, is excellent, and the director made the most of the rich opportunities in the script.

The one song is effectively handled.  

NEW YORK TIMES Film Review - July 25, 1936
- by Frank S. Nugent
- submitted by Barry Martin
For years we have been hearing about George Spelvin, who is to drama what Anon is to the dictionary of familiar quotations, but until yesterday we never had met him. Spelvin is no mystery to us now; the Capitol's "Suzy" presents him boldly: "Gaston …. George Spelvin," reads the cast sheet, and Gaston is a billygoat. A faintly symbolic billygoat, in fact, who lowers his head, butts his way through a cabaret and obligingly charges out again into the nothingness that is offstage.

Suzy must have been born under the sign of Capricorn, too. With padded horns of dialogue and venerable plot whiskers, it plunges across the screen, creates some mild excitement and careens out again, leaving us with a few esthetic bruises and a feeling that a little fresh air would do no harm.

Metro-Goldwyn-Mayer describes its romantic masterpiece as being based on the novel by Herbert S. Gorman. Based seems too strong a word; one suspects that the studio simply tore out a few chapters, distributed them among Dorothy Parker, Alan Campbell, Horace Jackson, Lenore Coffee and a few George Spelvins on its writing staff, and suggested they proceed from there. The final script indicates they retreated instead. Miss Harlow has been returned to her unsophisticated "Hell's Angels" days; Franchot Tone is some one out of "The Key"; Cary Grant was revisited with "The Eagle and the Hawk"; they found a place by the fireside for Lewis Stone.

"Suzy," as they have conceived it, is the tale of a shapely (we'll concede that to Miss Harlow, anyway) chorus girl who lingers in pre-war London in the hope of winning a title and a husband to go with it. She succeeds only partially, netting merely an Irish inventor, and then loses him on their wedding night when a mysterious woman shoots him down for having stumbled on a spy ring. Believing her husband dead - and she hardly waits for the belief to jell - Suzy dashes off to Paris, arriving in time for the Sarajevo festival of 1914, and with surprising emotional elasticity hurls herself into another romance and wedding, this time with the French ace, Andre Charvell.

It is only a matter of time, as you no doubt have guessed, until Suzy and her husbands have their unwanted reunion, but it is an uncommonly long and dull time as such things go, filled with dewy-eyed close-ups of Miss Harlow grieving because her Andre - the wretch - spends all his furloughs with other women and never even writes a letter home. Interest picks up when the dénouement is reached, with the old spy ring taking an active part in the plot again, and the war is permitted to step between Miss Harlow and a four-inch lens. But it is scarcely adequate compensation for the romantic balderdash that has gone before.

Miss Harlow's performance may be numbered among her least, and we still insist she would be wiser not to stray beyond d the green pastures (no adv.) of comedy. Mr. Tone can be thanked for the few honest moments of drama that the film possesses. His young Irishman is about the only convincing and natural character in the piece - other, of course, than George Spelvin, the goat.  

- by Kathy Fox

SUZY is Cary Grant's twenty-third film and the only time he will star with Jean Harlow who unfortunately died shortly thereafter at the age of twenty-six.  SUZY is a complicated story with Grant playing Andre Charville, an ace flyer in World War I.  Jean Harlow plays Suzy Trent who is a down-and-out singer trying to find work whe she is hit by a car.  Here she meets Terry Moore and he falls in love with her.  Suzy is tired of her meager existence and decides to marry him.  On the night of their marriage, Moore who works in a German engineering factory, is shot by Madame Eyrelle at the behest of Mrs. Schmidt who is engaged in anti-British espionage.  Suzy, believing the Terry is dead, flees the scene thinking she will be blamed, and goes to Paris and moves in with a friend Maisie.  There she becomes employed as a singer and meets Andre Charville.  They fall in love and marry.  They move in with Andre's father and Andre proceeds to rack up shooting down planes.  However, Andre is a Casanova and cheats on Suzy, who has become very fond of Andre's father and vice versa.  In fact, Andre unbeknownst to him is seeing the woman who shot Suzy's first husband and he has also become friends with Terry, who lived through the shooting incident.  Andre is injured and is in the hospital when Suzy comes to visit him.  On a return trip to visit Andre she meets her first husband, Terry, whom she thought was dead, and also recognizes Madame Eyrelle as being the trigger woman.  Suzy and Terry try to convince Andre that she is a bad woman, and almost finally do so, when Andre is shot and killed.  Terry goes up on the plane and returns by crashing the plane into the house where Andre and Suzy are.  In order to save his name, the two drag Andre outside in the pretense that he was killed in the crash.  Andre Charville is honored and Suzy and Terry are able to resume their relationship.  Complicated, to say the least!!   Paramount loaned Grant to MGM to make SUZY in an attempt to show him they were interested in furthering his career after all.  Grant eventually decided there was no room at MGM for him in their stable of actors.  However, it would not be long until Grant declared himself a free agent which was the best move he could have made to further his career.

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