Her Man (1930)

 |  Drama  |  21 September 1930 (USA)
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Paris bargirl with tough "protector" falls for young sailor.



(photoplay), (story), 1 more credit »
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Complete credited cast:
Frankie Keefe
Phillips Holmes ...
Dan Keefe
Marjorie Rambeau ...
Harry Sweet ...
The Swede
Stanley Fields ...
Matthew Betz ...
Mike Donlin ...


Paris bargirl with tough "protector" falls for young sailor.

Plot Summary | Add Synopsis

Plot Keywords:

sailor | paris france | See All (2) »


YOU'LL NEVER FORGET IT! The blood-firing romance of a girl WHO DARED THE WORLD FOR LOVE! She was tender, young and beautiful, but she knew LIFE in the raw, vivid, colorful, elemental! Daring and soul-stirring is the story of a girl who found real love in the crucible of flaming desire and elemental thrills! See more »








Release Date:

21 September 1930 (USA)  »

Also Known As:

Seu Homem  »

Filming Locations:


Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(RCA Photophone System)

Aspect Ratio:

1.20 : 1
See  »

Did You Know?


This film is preserved at the Library of Congress. See more »


Featured in The Cuban Love Song (1931) See more »

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User Reviews

30 May 2004 | by (New York, NY) – See all my reviews

A good start: the credits are written in the sand and washed away by waves, with only the sound of the surf. The story starts with Rambeau being met at the bottom of the gangplank in New York by the law, and told to return directly to Havana, do not pass go. When we get back to Havana we find that the film's not about Rambeau, but about 12trees, who is under the thumb of Cortez. In an early scene, Cortez's henchmen stage a fight to draw attention while he surreptitiously kills an enemy by throwing a knife; a well managed, cold blooded murder. Holmes, in one of his best performances, is a sailor on leave who is taken with 12trees, even though she plays her best B-girl routine on him. That's the set-up, and it's really well played out all the way to the end. The plot structure is good, with Cortez getting poetic justice, and with no false moves. The atmosphere is great, particularly in a bravura street set, which a moving camera travels down twice, through crowds of drunks, whores and assorted riffraff. One of these tracking shots has 12trees bouncing along behind Cortez, the perfect image of a floozie following her pimp. The camera is fluid throughout the film, prowling around the huge bar set as well as the streets. And 12trees shows that she can deliver a performance that's a bit different from the put-upon wives of MY WOMAN and NOW I'LL TELL. Although some of the dialogue is a bit primitive, one can well see why this film "has its adherents" (per Halliwell). Unfortunately, all this great stuff is interspersed with a series of simple repeating burlesque blackouts: Gleason losing--and his pal winning--at the one-armed bandit; Summerville and drunks bashing (or not bashing) a hat; Pangborn challenging others to a fight, etc. The mechanical nature of the gags, and their constant reiteration, tends to defeat the suspension of disbelief needed for the serious drama in the foreground. Even so, this one is a pre-Code era must-see.

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