I like the storyline of this show,it attract me so much

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Exactly the movie you think it is, but not the movie you want it to be.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Barbara Stanwyck's fourth movie and famed director Frank Capra presents her the vehicle to start her ride to stardom. Jerry Strong(Ralph Graves)is the son of a wealthy railroad magnet(George Fawcett), but he angers dear old dad by not wanting to follow in his footsteps. Jerry wants to be an artist, although hasn't found his perfect model to pose for him. On a middle-of-the-night drive, the younger Strong rescues the lovely Kay Arnold(Stanwyck)sneaking out of a party. Yes, she describes herself as a "party girl"...this is the mid 30s, OK. Strong has found his model and Miss Arnold really wants the money to pose. It takes a while for a romance to begin smoldering; about the same time Jerry's father demands he leave the girl with the bad reputation alone or more or less lose his inheritance. It is not hard to recognize the beauty of the young Miss Stanwyck. My favorite sequence is watching her through a raindrop soaked window changing into sleepwear. This is a passionate romance drama, of course filmed in Black & White. Ninety-nine minutes passes quickly. Rounding out the cast: Lowell Sherman, Marie Prevost and Nance O'Neil.

After starring in two flops, Barbara Stanwyck found herself with a Columbia contract (at that time not something to brag about) at the same time that Frank Capra, Columbia's whiz kid director was casting "Ladies of Leisure" from the 1924 play called "Ladies of the Evening". Stanwyck was not Capra's idea of Kay, the shopworn heroine and Stanwyck, who had had some awful filmic experiences (and being married to egomaniac Frank Fay didn't help) was unco-operative and had no confidence so she and Capra initially clashed. She apparently snapped "Oh Hell, you don't want any part of me" and walked out but Capra looked at some earlier tests and realised how wrong he was and a marvellous film team was born. Released in 1930, the movie became Columbia's greatest box office success to date with Stanwyck and Capra earning the highest praise.The story was a blend of "Pygmalion" and "Camille" with Jerry (Ralph Graves) becoming bored one night with yet another riotous party (Lowell Sherman as Bill has a marvelous scene when he paints a picture on a party-goers back!!) drives down to the waterfront and encounters hard boiled Kay (Barbara Stanwyck). She is also escaping from a boat party - she is a "party girl" and proud of it!! She is amazed that he is such a gentleman - "30 miles and not even a pass!!" Jerry is a painter and thinks he has found the perfect model for his picture of "Hope". As the sessions progress Kay finds she has deep feelings for him and during a heavy rainstorm when he convinces her to stay the night (again he is a proper gentleman), she awakes dewy eyed but he is all business.Jerry's mother (Nance O'Neill) is all set to like her but a chance meeting with bubbly Dot (Marie Prevost) convinces her that Kay is only a gold-digger and when she finally meets Kay, she is already convinced that she will bring Jerry down. To leave Jerry free to reconcile with his parents Kay goes to Havana with Bill, but on the boat attempts suicide when she can no longer keep up the charade. Stanwyck builds the dramatic intensity as the movie progresses, initially she is a good time party girl, shallow and glib but you start to see the deeper feelings come out. It wouldn't be a Stanwyck movie without a scene of high emotion and she definitely has a couple of those, especially her scene with Nance O'Neill.Another person who counted "Ladies of Leisure" as a milestone was Jo Swerling. She had been churning out poverty row productions for Columbia and confidently convinced Capra he could make "a silk purse out of a sow's ear" - she ended up becoming Harry Cohn's right hand woman!!!Highly Recommended.

Frank Capra's pre-code early talkie involving class consciousness and loose flappers is a rather slow going, sloppy melodrama that is salvaged by the fresh performances of Barbara Stanwyck, Marie Prevost and Lowell Sherman. Poor little rich boy Ralph Strong aspires to be a great painter but feels lost and empty amid his roaring twenties hanger ons bent on pleasure. He escapes them one night to clear his head and meets Kay Arnold, a professional escort, rowing a boat to escape the same madness from a yacht party. She agrees to model for Strong who eventually falls for her but is rejected by his family due to her past and station. After a visit from his mother Kay sacrifices her future happiness by agreeing to run off with one of Strong's party animal buddies.There's plenty of racy double entendre dialog in Ladies, convincingly uttered by the perfectly dissipated Lowell Sherman and low rent good time girls Stanwyck and the tragic Marie Prevost who all but steals the film in a supporting role. Ralph Graves as Strong on the other hand is wimpy and washed out, behaving at times like a sulking child.Capra and his regular cameraman Joseph Walker offer some beautiful tableaux that evoke the jazz age as well as beautifully lit atmospheric scenes of sensual tension. He allows these scenes to lag however and it doesn't help matters that Stanwyck and Graves lack chemistry. Other Capra tropes like the mawkishly sentimental scenes involving the parents and the lovers and the requisite redemption at film's end take whatever life Ladies of Leisure has and drowns it in a tearjerker ocean.

23 year old Barbara Stanwyck became a leading film star in 1930 with the release of LADIES OF LEISURE, after having starred in two flops in 1929. This is a very slender story of a good time girl who falls in love with a millionaire's son who basically is just interested in her as a model for a painting he wants to do. Given how free-wheeling and blunt most early talkies were on morality, this movie is surprisingly discreet about Stanwyck's character's past. We are supposed to read into the story she's a prostitute (or more accurately, a former mistress) - but in her first scene she is fleeing a yacht party that's too risqué for her!! Stanwyck rings honesty out of a cardboard script and she's got good support from three second-tier silent stars who are quite good in talkies - Ralph Graves as the object of her affection, Marie Prevost as her wisecracking, less prudish pal, and especially Lowell Sherman as Graves' drunken buddy who is very open to being Stanwyck's next sugar daddy yet the best scene is the confrontation being Stanwyck and Graves' mother, superbly played by a somewhat unsung character actress, Nance O'Neil.The movie's minor fame today rests on it being Stanwyck's first screen success and an early hit for director Frank Capra yet Capra's direction is rather dull and often awkward and the movie is very badly edited with some scenes conspicuously made up of different takes with shot angles and acting rhythms off among other giveaways (to say nothing of the scene where Graves answers the phone and says "Hello" way before the receiver is anywhere near his mouth!!) As mentioned by another reviewer, a "silent" version of the film was also shot (the smaller studios like Columbia were still making silent versions of some of their films up to 1931 for the ever dwindling number of movie theaters that were still not wired for sound), I don't know anything about the silent version being available on video and not the sound film, possibly the silent version fell into public domain and that's why that version alone is on tape, however the sound version still exists and was shown on American Movie Classics in the early 1990's back when that channel actually showed classic movies. Turner Classic Movies, on the other hand, has so many MGM and Warner Bros. films at their disposal they hardly need to go elsewhere for films so it's not likely they will bother to pick up rights to this movie from Columbia. I wouldn't be surprised, however, one day to see it and a number of other early Capra talkies together in a boxed DVD set given his legend as a director.