Eighteen years ago, John Bolton found the man who killed his brother Joe and shot it out. The man was killed and John went to prison. His son Mike is now a college track star and when the ... See full summary »
Cary, Shep, Bill, and Francis are pilots who have just, and only just, survived the First World War. They linger in Europe in the aftermath, drinking and ostensibly having fun, but ... See full summary »
Johnny Mack Brown
Sam Gallagher (Pat O'Brien), a former foreign correspondent and now a United States Government agent, gets a job through his brother Jeff (Chester Morris), whom he has not seen in seven ... See full summary »
Victor Shanley had once been New York City's most-acclaimed crime-fighting, crusading District Attorney and the scourge of the underworld. But the workaholic demands of the job led him to ... See full summary »
New York girl has a dull boyfriend and seems destined for a dull marriage when she meets a rich playboy who has money to burn and places to go. She gets involved with the playboy and never ... See full summary »
William Powell plays William Foster, a slick attorney who stays within the law, but specializes in representing crooks and shady characters. He's adept at keeping them out of jail, winning ... See full summary »
Eighteen years ago, John Bolton found the man who killed his brother Joe and shot it out. The man was killed and John went to prison. His son Mike is now a college track star and when the fraternity finds out about his father, he leaves college and goes back home to Hardinsville. About the only job he can get is at the Bank. At the bank, Emily takes a liking to Mike and that upsets Vint, who has his eye on Emily. Then John gets paroled by the Governor and returns to town. Mike is ashamed of his father and keeps away from him while Jim will not let him quit his bank job. All the old folks think that John did the right thing. When Mike is short $2000 at the bank, he believes that his father took the money when he was out of his cage, but cannot bring himself confront him. Written by
Tony Fontana <email@example.com>
Kidboots has given a fine précis of this movie's story. While I was pleased to see it tonight at New York's Museum of Modern Art and note some technical innovations and story-telling techniques, it also should be noted that the actors seem uncomfortable with the requirements of talking pictures. Everyone seems nervous and jittery, probably because they were afraid that director Allan Dwan was going to run them over with a moving camera/boom crane combination. The effects yielded are terrific and subtle.
At this point microphones had a very limited range, so a series of mikes had to be planted. Dwan simply mounted one on the camera for the moving shots and the result was an increased sense of space.... as people walk along the street, not only do people and sights come in and move out of camera range, they move out of microphone range and the effect is startling and incredibly natural. It has not, alas, been repeated frequently. If you ever have a chance to see this rare film, listen for the effect.
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