In one of her few leading roles, the powerful dramatic actress Ann Dvorak tries to get past a mediocre script involving a troubled young woman trying to get through her own mediocre past. She's pregnant out of wedlock, abandoned by the wealthy father (disappearing without a trace thanks to an obviously possessive unseen society matron mother), and in her effort to support her child, ends up a fugitive in hiding with reporter Lee Tracy trying to get the goods on her. The non-sensical situation lacks in any real character motivation or believable plot development and culminates with Tracy stealing her from her obviously decent boyfriend (Richard Cromwell) seemingly so he can expose her as the notorious moll she's gained an undeserved reputation for being.
While not unattractive, Dvorak didn't have traditional leading lady looks which made her perfect as the other woman, gangster's moll or scheming sister to the heroine. Photographing rather harshly, the switch of her hair color from black to blonde accentuates that even more. This is pretty much no different than the women's soap opera type films which starred such Warners contract players as the very young Bette Davis, Barbara Stanwyck, Kay Francis, Joan Blondell or Jean Muir, but Dvorak lacks their obvious vulnerability and the script lacks conviction. Much of the supporting cast is wasted, but there are good moments for Tracy (especially his kind-hearted send-off of Cromwell) and Charles B. Middleton as a very assertive police sergeant. The pre-code spark is there amongst a few spicy lines but that isn't enough to make this one memorable.
While not unattractive, Dvorak didn't have traditional leading lady looks which made her perfect as the other woman, gangster's moll or scheming sister to the heroine. Photographing rather harshly, the switch of her hair color from black to blonde accentuates that even more. This is pretty much no different than the women's soap opera type films which starred such Warners contract players as the very young Bette Davis, Barbara Stanwyck, Kay Francis, Joan Blondell or Jean Muir, but Dvorak lacks their obvious vulnerability and the script lacks conviction. Much of the supporting cast is wasted, but there are good moments for Tracy (especially his kind-hearted send-off of Cromwell) and Charles B. Middleton as a very assertive police sergeant. The pre-code spark is there amongst a few spicy lines but that isn't enough to make this one memorable.