Millie's life begins to crumble when she finds out her husband is having an affair.


(from the novel by), (adaptation) (as Chas. Kenyon) | 2 more credits »

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Complete credited cast:
Helen Riley
Tommy Rock
Jack Maitland
Jimmy Damier
Angie Wickerstaff
Connie Maitland
Defense Attorney
John Holmes
Mrs. Maitland
Franklin Parker ...
Harry Stubbs ...


Millie Blake has a love affair that goes wrong, so Millie plays the field recklessly from that point on. When she finds out that one of the reckless players from her past has now cast his spell on her daughter, she takes matters into her own hands and finds herself in a courtroom trying to find a better defense plea than mother-love and honor-protection. Written by Les Adams <>

Plot Summary | Add Synopsis


Millie learned that love can crush the heart that leers at love! (original poster) See more »


Drama | Romance


TV-G | See all certifications »




Release Date:

8 February 1931 (USA)  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs

Sound Mix:

(Western Electric Equipment)

Aspect Ratio:

1.20 : 1
See  »

Did You Know?


Charles R. Rogers produced this as an independent film, but sold the distribution rights to RKO after he was made chief executive of RKO-Pathé in January 1931. See more »


The beginning of the film is supposed to be set around 1914 yet the cast are wearing early-1930s fashion See more »


Connie Maitland: It tickles my nose!
See more »


Referenced in Consolation Marriage (1931) See more »


(1931) (uncredited)
Music and Lyrics by Nacio Herb Brown
Played during the opening credits and at the end
Played by a band at a nightclub and sung by an unidentified trio
Reprised as dance music and as background music often
See more »

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User Reviews

Men are beasts.
15 January 2014 | by (Baltimore MD) – See all my reviews

It seems there was a curse on "Millie." Its four co-stars, Helen Twelvetrees, Lylian Tashman, Robert Ames and James Hall all died before they turned 50. As for the movie itself, its pre-code message is that all men are beasts who crave only one thing. The point is made through the saga of Millie Blake whom we first meet as a bashful bride on her wedding night (though even bucket loads of make-up can't hide the fact that Helen Twelvetrees is no teen-ager.) Nor is her paunchy husband an Adonis. Three years and a child later, she catches hubby canoodling with his mistress at a night club, files for divorce and valiantly (if stupidly) relinquishes the alimony she was entitled to. Plucky lass! From there on in, Millie fends off -- or gives in, depending on how you interpret the cutaways -- to a succession of over-age lotharios. But when one of them makes a play for her 16-year-old daughter, she has no choice. She has to shoot the dastard. By today's standards, Millie's sudsy exploits would be almost laughable. But by the standards of 1930/31, as movies were just learning to talk, it qualifies as an interesting (and sometimes downright entertaining) museum piece.

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