6.3/10
95
6 user 5 critic

One Night at Susie's (1930)

A woman who owns a boarding house winds up being the "mother hen" to the assorted mobsters and racketeers who live there. When her foster son decides to take the blame for a murder that was... See full summary »

Writers:

(story), (dialogue) | 3 more credits »
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Cast

Cast overview:
...
...
Dick Rollins
...
Susie
...
Buckeye Bill
James Crane ...
Houlihan
...
Hayes
Claude Fleming ...
David Drake
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Storyline

A woman who owns a boarding house winds up being the "mother hen" to the assorted mobsters and racketeers who live there. When her foster son decides to take the blame for a murder that was actually committed by his girlfriend, her boarding-house pals decide to try to help her out. Written by frankfob2@yahoo.com

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Plot Keywords:

melodrama | underworld | See All (2) »

Genres:

Drama

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Details

Country:

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Release Date:

19 October 1930 (USA)  »

Also Known As:

Mia erotiki nykta  »

Company Credits

Production Co:

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Technical Specs

Runtime:

(New York opening) | (TCM print)

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

In September 1928, Warner Bros. Pictures purchased a majority interest in First National Pictures and from that point on, all "First National" productions were actually made under Warner Bros. control, even though the two companies continued to retain separate identities until the mid-1930's, after which time "A Warner Bros.-First National Picture" was often used. See more »

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User Reviews

 
Mama Don't Allow
10 October 2014 | by (New York City) – See all my reviews

Douglas Fairbanks Jr. has gotten engaged to Billie Dove, but mama Helen Ware doesn't like it. Billie is a showgirl and thus unfit to be a daughter-in-law to a decent mob boss like her.

This movie moves between comedy and melodrama a little uncertainly, but the way Miss Ware plays her role, along with henchman Tully Marshall, is a delight. Miss Dove is quite lovely and more than adequate to her role and Doug Jr. is still learning his craft. There's still a bit of a problem with the emphatic way everyone speaks their lines, but the hiss on the soundtrack points out that it's still 1929 and they're learning how to manage a sound system.

The most notable thing about this movie is the way Director of Photography Ernest Haller moves the camera a bit to maintain composition when the actors move. This is the essence of studio-era camera movement, but it was difficult for a few years because of the immobility of the sound equipment. I'm not sure how sound man Dolph Thomas helped arrange it, but its casual use here is interesting.


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