In Millie, the title character’s best friends are a lesbian couple. But, like, the 1930s kind of lesbian couple where nobody says the word “lesbian”, but they share a bed and argue like an old married couple. Angie and Helen are played by Joan Blondell and Lilyan Tashman (once called “the biggest dyke Tinseltown had ever seen”), and in a movie that involves murder and attempted rape, the biggest tragedy is that these two can’t get their shit together and stop arguing long enough to not marry men. In theory they’re gold diggers, though Angie is more committed to that idea than Helen, stating “I decided it’s time I found an advantageous marriage. I feel I’ve done all that can be done with the present situation.” As the “present situation” being referred to here, Helen clearly isn’t psyched. When Angie later tells her future husband that she’s “given up on the idea of marrying for love” and that “someday [she hopes] to marry a nice, conservative gentleman, just to travel”, Helen just rolls her eyes and asks the guy to dance herself so Angie can’t. The last time we see Helen is when she gets wasted with Millie after hanging out with Angie and her husband, saying, “The only thing I ever got out of love was pain.” We’ve all been there, Helen.
1926 “Love’s Blindness” starring Pauline Starke as the wife, trying to keep her husband, Antonio Moreno, out of the clutches of the Countess, Lilyan Tashman. On the back “An Elinor Glyn production for Metro-Goldwyn-Mayer, directed by John Francis Dillon”.