Despite the bawdy innuendo, the film is nothing short of progressive with its portrayal of strong female characters and their unashamed sexuality. The film is but a blip in LeRoy's prolific career, but one worthy of discovering as a showcase of the film's several stars.
The camerawork is exceptional — beautiful and interesting. I especially love the tracking shot at the beginning when we’re introduced to the sisters — tough minded McMahon and pretty, frustrated Dvorak — while McMahon is walking to the car she’s working on. Dvorak storms away, angry, and LeRoy shoots from McMahon’s POV under the car. MacMahon and Dvorak are wonderful here — really appealing and touching.
McMahon & Dvorak and Preston Foster & Lyle Talbot provide drama, while such interlopers as Frank McHugh, Ruth Donnelly, Glenda Farrell, Edgar Kennedy and Jane Darwell provide comedy. The balance is spot on. It has the structure of a play, but never seems theatrical, thanks to the WB house style and the atmospheric location shooting.