A typical pre-code era comedy, Bachelor Apartment was the creation of its leading man, silent screen matinee-idol Lowell Sherman. He plays Wayne Carter, a Park Avenue roué, whose dalliances with a series of women are beginning to catch up with him. Enter a brunette and rather drab Irene Dunne searching for her wayward sister (Claudia Dell). Sherman falls like a ton of bricks for the no-nonsense and seemingly unresponsive Dunne, whom he hires as his executive secretary. For unexplained reasons, Dunne falls in love with her whimsical boss as well and after Sherman shows signs of shaping up, they embrace for a happy ending. Daring in its day, Bachelor Apartment is not really worth a second look except for a next-to-final glimpse of silent screen femme fatale Mae Murray. Playing Sherman's most ardent conquest -- who, as the suave playboy explains, "might commit a sin but never a faux pas" -- Murray has to be seen to be believed. Valiantly attempting to display her trademark bee-stung countenance while at the same time deliver a series of hoary lines, the still svelte Murray -- who is introduced to the strains of an ersatz Merry Widow Waltz lest we forgot -- offers an overripe performance that all but ended her screen career. Sherman used her once more -- in High Stakes, another frothy comedy -- but the aging Murray was obviously not talkie material. Bachelor Apartment offers a glimpse of yet another faded silent screen star, the mustachioed Norman Kerry of Phantom of the Opera fame, here playing the minor role of a theatrical wolf. Like Murray (and Lowell Sherman himself), Kerry's looks and mannerisms belonged to a bygone era.
by Hans J. Wollstein synopsis