--- title: "Me and My Gal" year: 1932 kind: "film" canonical: "https://film.one/film/me-and-my-gal" fi1m_id: "me-and-my-gal" imdb_id: "tt0023202" tmdb_id: 84337 wikidata_id: "Q2428921" fi1m_score: 61 critics_reviews: 2 published: "2026-09-25T01:07:33.559610+00:00" updated: "2026-09-25T01:07:33.831316+00:00" region: "SA" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Me and My Gal (1932) Directed by Raoul Walsh · 1h 19m · Comedy, Romance, Drama ## Identity Me and My Gal - **Canonical:** https://film.one/film/me-and-my-gal - **Type:** Film - **Fi1m ID:** me-and-my-gal - **IMDb ID:** tt0023202 - **TMDB ID:** 84337 - **Wikidata ID:** Q2428921 - **Same entity:** https://www.imdb.com/title/tt0023202/, https://www.themoviedb.org/movie/84337, https://www.wikidata.org/wiki/Q2428921 **Fi1m score: 61** · Critics: 2 of 6 reviews so far *In a sentence:* Spencer Tracy and Joan Bennett make better company than the people writing their wisecracks > Raoul Walsh’s *Me and My Gal* has enough comic life to interest lovers of ensemble comedy, but tired wisecracks and an uneven pace matter. Its 79 minutes are less reliably entertaining than the cast deserves. ## Synopsis Danny Dolan (Spencer Tracy) and Helen Riley (Joan Bennett) head an ensemble that also includes Kate Riley (Marion Burns), Duke Castenega (George Walsh) and Pop Riley (J. Farrell MacDonald). Henry B. Walthall plays Sarge, Noel Madison plays Baby Face and Bert Hanlon plays Jake. Adrian Morris appears as Al, with George Chandler as Eddie Collins and Will Stanton as the Drunk. Raoul Walsh directs this 1932 film, which combines comedy, romance and drama. Arthur Kober supplies the screenplay, from a story by Barry Conners and Philip Klein. ## Review Raoul Walsh’s *Me and My Gal* has enough life in its cast to make its uneven comedy worth a look, provided ensemble films are already your sort of thing. We enjoyed the performances more consistently than the jokes. At 79 minutes, it ought to be an easy proposition, but several tired wisecracks make it feel longer. There is pleasure here, though the writing and pace make us work harder for it than we should. Spencer Tracy, as Danny Dolan, and Joan Bennett, as Helen Riley, give us the strongest reason to persist. They are appealing company even when we are not particularly amused, which matters in a film so dependent on its performers. Their appeal also makes the weak material more obvious: we keep wanting the screenplay to give them something better. Both have enough presence to hold our attention through passages where the comedy offers them little help. Arthur Kober’s screenplay is more persuasive in its comic sketches than in its supply of wisecracks. We laughed at those sketches, then grew impatient when the verbal jokes kept failing to justify the time spent on them. The separate routines have a looseness we like, and there is something agreeable about a comedy willing to let its actors take their time. The difficulty comes when an unoriginal line gets the same indulgence as a good piece of comic business, which happens often enough to interrupt our enjoyment. Arthur Charles Miller’s cinematography holds our interest chiefly through the performers rather than anything we would single out as a visual attraction. That is a reasonable emphasis for an ensemble comedy, although it gives the jokes little assistance when they falter. Jack Murray’s editing leaves the rhythm feeling slack in places, and the stronger comic passages never quite establish a dependable pace. We are happy to spend time with these actors, but we become conscious of how long we are spending between laughs. The supporting cast is where Walsh’s fondness for character actors pays off. Marion Burns plays Kate Riley, George Walsh plays Duke Castenega and J. Farrell MacDonald plays Pop Riley, contributing to an ensemble worth watching even when the script is unhelpful. Henry B. Walthall’s Sarge is a particular pleasure, and Walsh’s affectionate attention to the actor is one of the film’s more endearing qualities. That generosity towards the performers would be more rewarding with a firmer choice of which jokes to keep. Small ensemble comedies do not need a tightly wound plot, and we would not ask this one to hurry merely for the sake of it. They do need enough good material to make lingering enjoyable, and Walsh has that only intermittently. The mixture of comedy, romance and drama troubles us less than the stretches where the humour simply wears thin. Admirers of Spencer Tracy, Joan Bennett and character actors will find enough here to make the evening worthwhile. Come for the cast, and allow for some waiting between laughs. *Fi1m score 61, published 25 September 2026.* ## Straight answers **Is Me and My Gal worth watching?** *Me and My Gal* is worth a look for admirers of Spencer Tracy, Joan Bennett and ensemble comedy, though our score of 61 reflects its uneven pleasures. We enjoy the cast and the comic sketches more than the tired wisecracks, while slack pacing makes its 79 minutes feel longer than they should. **How long is Me and My Gal, and what is it rated?** *Me and My Gal* runs 1h 19m. It is a comedy and romance film. **Where can I watch Me and My Gal in Saudi Arabia?** *Me and My Gal* is not on any streaming or rental service in Saudi Arabia at the moment. It is available in 2 other countries; change your country at the top of the page to see where. Availability is checked daily. **How does Me and My Gal compare to The Thin Man?** *Me and My Gal* is the less reliable comedy beside [*The Thin Man*](https://film.one/film/the-thin-man), which we recommend more readily for romantic sparring and supporting players whose interruptions earn their place. Tracy and Bennett make appealing company despite weak jokes; Powell and Loy’s warmly drawn marriage carries their film, even when its murder story proves less interesting. **What should I watch after Me and My Gal?** After *Me and My Gal*, try [*The Thin Man*](https://film.one/film/the-thin-man) (1934, Fi1m 84): For romantic sparring and an ensemble whose comic interruptions earn their place. Then [*Local Hero*](https://film.one/film/local-hero) (1983, Fi1m 86): Its eccentric supporting characters make spending time in a small community worthwhile. ### Reviews we read (2) - **The New Yorker**, Richard Brody (80/100, inferred): Brody presents the film as a snappy, hearty, eccentric comedy. He praises its tangy ensemble of character actors and Walsh’s witty homage to Henry B. Walthall. [Read](https://www.newyorker.com/culture/richard-brody/dvd-of-the-week-me-and-my-gal) - **Variety**, Variety Staff (35/100, inferred): The review sees some comedy in the film but finds it tiring overall. It singles out the comedy sketches for working best, while criticizing the unoriginal wisecracks and slow pace. [Read](https://variety.com/1931/film/reviews/me-and-my-gal-1200410581/) ## Details - **Director:** Raoul Walsh - **Director:** Raoul Walsh - **Screenplay:** Arthur Kober - **Story:** Barry Conners, Philip Klein - **Cinematography:** Arthur Charles Miller - **Editor:** Jack Murray - **Costume design:** Rita Kaufman - **Cast:** Spencer Tracy as Danny Dolan; Joan Bennett as Helen Riley; Marion Burns as Kate Riley; George Walsh as Duke Castenega; J. Farrell MacDonald as Pop Riley; Noel Madison as Baby Face; Henry B. Walthall as Sarge; Bert Hanlon as Jake - **Runtime:** 1h 19m - **First release (the US):** 4 December 1932 - **Genres:** Comedy, Romance, Drama ## Where to watch in Saudi Arabia Not streaming, renting or buying in Saudi Arabia at the last check. Also available in: CA, US. Add `?region=XX` to this URL for another country. ## If you liked this - *The Thin Man* (1934), Fi1m 84: For romantic sparring and an ensemble whose comic interruptions earn their place. — [Fi1m page](https://film.one/film/the-thin-man.md) - *The Shop Around the Corner* (1940): Another working ensemble, with more reliable jokes and a carefully developed romance. - *Smiles of a Summer Night* (1955): An intricate ensemble romance with sharper jokes and firmer control of tempo. - *Local Hero* (1983), Fi1m 86: Its eccentric supporting characters make spending time in a small community worthwhile. — [Fi1m page](https://film.one/film/local-hero.md) - *The Lunchbox* (2013): A quieter romance that gives ordinary routines and hesitant connections their full weight. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/me-and-my-gal