“In the thirties, Carole Lombard reigned as the screen's beloved ‘Duse of daffy comedy'; her only serious rival was the equally lovely, equally blonde Jean Arthur. Lombard's films were usually set in a glamorous never-land of satin gowns and chromium cocktail shakers, but Arthur's heroines had to confront the reality of the Depression head on. Some of her best moments occurred when the working girls she played told off some stuffed shirt of a plutocrat, croaking defiance in a hoarse voice that had the jolt of good whiskey. The Devil and Miss Jones, about the threatened strike by the employees of a department store, was typical of the socially conscious comedies her fans identified her with. In the end, the film pulled its punches--the wicked old capitalist turned out to be not such a bad fellow after all, once he understood the situation--but audiences carried home with them a feeling that the filmmakers had some sense of what life was like away from the cabanas of Beverly Hills.” Charles Hopkins