
Hands Across the Table (1935) on Netflix
Regi Allen, a hotel manicurist in New York City, intends to marry a rich husband. Her wealthy client Allen Macklyn takes an interest in her. Guest Theodore Drew III books a manicure.
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- Netflix3.7/5
- IMDb6.9/102,407 votes
- Rotten Tomatoes80%
Plot summary
Regi Allen, raised in poverty, works as a manicurist in a New York City hotel and has decided to marry a rich man. Allen Macklyn, a wealthy hotel guest who uses a wheelchair, is drawn to her and becomes the person she confides in, though she never considers him a suitor. In the hallway she meets Theodore Drew III, playing hopscotch, and he books a manicure; she knows his family name as a prominent one and has no idea the Great Depression left them with no money. He takes her to dinner, drinks too much and tells her he is engaged to Vivian Snowden, whose family fortune comes from pineapples. With no money and nowhere to stay, he sleeps on her sofa, and the two admit to each other that they each intend to marry for money.
Cast
Carole Lombardas Regi Allen
Fred MacMurrayas Theodore Drew III
Ralph Bellamyas Allen Macklyn
Astrid Allwynas Vivian Snowden
Ruth Donnellyas Laura
Marie Prevostas Nona
Murray Alperas Cabbie (uncredited)
Herman Bingas Barber (uncredited)
Marcelle Cordayas Celeste (uncredited)
William Demarestas Regi's Date Natty (uncredited)
Edward Garganas Pinky Kelly (uncredited)
Ferdinand Munieras Miles (uncredited)
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Did you know?!Facts and trivia about Hands Across the Table (1935)
Can contain spoilers, watch the movie first.
- Carole Lombard had wanted Cary Grant to play Theodore Drew III in Hands Across the Table, but scheduling conflicts made him impossible to get.
- Fred MacMurray found it hard to be funny enough for the role, so Carole Lombard at one point sat on his chest, pounded him with her fists and yelled, "Now Uncle Fred, you be funny or I'll pluck your eyebrows out!"
- When Carole Lombard and Fred MacMurray collapsed in laughter finishing the take of the "Bermuda calling" phone scene, director Mitchell Leisen kept the cameras turning and used the unscripted laughter in the picture.





















