Without wanting to sound arrogant, my knowledge of movies is pretty encyclopedic. You don’t run a movie blog for two and a half years and review at least one film from all but five years since 1930 without knowing your way around cinematic history. So, it’s rare anymore for me to come across a film that I had legitimately never heard of before placing it on my Netflix queue. It still happens (Tape a recent, positive example) but it happens much more rarely than it used to. Sometimes, these unknown films become some of my personal favorites that I’ve watched for this blog (Conversations with Other Women), but sadly, on other occasions, I quickly know why these films were lost to the annals of history.
There are movies that you know are going to be a drag from the plot description alone, and 1938’s Army Girl was one such exercise in cinematic triviality. After World War I, the United States army realized that it was time to signal the change between a traditional horse-mounted cavalry to mechanized tank warfare. But, with America’s rich tradition of cavalry as the linchpin of any successful military campaign, this change was met with much resistance. One man (and I’m unsure if he really existed, Captain Dike Conger (Preston Foster) has led a successful string of demonstrations of the power and flexibility of tanks when he is sent to one last camp to facilitate the change.
But, Captain Conger is a well-known cad whose only rule in his female conquests is that he doesn’t date any women with any affiliation to whatever military camp he’s been sent to. It’s a rule that he never breaks… until he finds himself falling for Julie Armstrong (Madge Evans), the daughter of the camp’s Colonel. She pretends to be a plucky, hick-accented townie until the ruse is discovered by Conger after he’s already started to fall for her. But their relationship is threatened again when the march of technology threatens to put her horse-trained father out of work and with Captain Conger as his possible replacement.
That description of the plot is actually far more enticing than the one Netflix Instant uses which eschews any mention of the romance between Conger and Julie (which is really the main thrust of the film) and instead focuses solely on the tank vs. horse nature of the film. And, believe me, had this movie been solely about Conger’s attempts to convince his fellow soldiers that the future of the military depended on transitioning to tanks, Army Girl would have been practically unwatchable. Thankfully, it filled those moments out with a quaint romantic comedy that made the film bearable (though it’s short running time didn’t hurt matters either).
I’ll keep this review very, very short because this film wasn’t terrible. It certainly wasn’t good in any sense of the word either. It was just frivolous and unnecessary. Nothing about it stood out except for maybe Madge Evans, and that had nothing to do with her acting ability (which was alright I suppose) but more to do with the fact that she bore a striking resemblance to Irene Dunne (though she lacked Dunne’s natural presence). I only watched this film because it received a Best Cinematography Oscar nod in 1938, and I suppose there were some well-shot sequences for the time. I can’t imagine any reason why anyone reading this blog should watch this film. It’s best that we let Army Girl stay forgotten.
Final Score: C
(I usually put a trailer for the film’s I review beneath my scores for this blog, but Army Girl is so obscure that no trailers for it exist on Youtube. So, that’s why it isn’t there)