Ex-convict Danny Kean decides to become honest as a photographer for a paper. He falls in love with Patricia, the daughter of the policeman who arrested him. Mr Nolan, her father, doesn't ... See full summary »
Two lazy screenwriters need a story for the studio's cowboy star. A studio waitress turns out to be pregnant. This gives them the idea for a movie about a cowboy and a baby. The waitress's ... See full summary »
Idealistic attorney Anton Adam makes headlines when he successfully prosecutes a prominent New York racketeer named Gilmurry. Adam's sudden renown attracts the attention of high-profile ... See full summary »
San Francisco Tong hatchet man Wong must execute his boyhood friend Sun. Sun knew his time was up and wrote out his will just prior to Wong showing up at his door. When Sun realizes Wong is... See full summary »
William A. Wellman
Edward G. Robinson,
Railroad fireman Bill White is a carefree ladies' man with an irresponsible streak. His buddy Jack Kulper, an engineer, is more solid and reliable. Bill comes to stay a while with Jack and his wife Lily. Bill and Lily fall in love, but not wishing to hurt Jack, Bill leaves without explanation. When Jack confronts Bill about his suspicions, the two fight and Jack is seriously injured. Bill is consumed with guilt and tries to make good, but Jack has his own ideas about that. Written by
Jim Beaver <email@example.com>
Although the title card bears a 1930 copyright statement, this film was apparently never copyrighted, under either of its two titles. It was completed in mid-1930, and reviewed in Motion Picture Herald 4 October 1930, and in Photoplay Magazine in December 1930, but did not open in New York City until April 1931. See more »
When Bill and Lily are embracing in the kitchen in front of the stove the moving shadow of the boom microphone is visible on the wall below the window behind them. See more »
[while offering a stick of chewing gum]
Have a little chew on me...
See more »
A fast-paced tale of love, action and sacrifice - the kind of Hollywood staple they don't make anymore. More than a little melodramatic and very much a period piece, the film is worth watching most of all for some stunning visual effects and an absolutely marvelous (supporting) performance by Joan Blondell in the kind of role that suited her perfectly: a wisecracking, hash-slinging dame - a floozy who thinks she's looking for love, but is only out for a good time. Mary Astor is convincing in the lead role, but Joan steals the show.
A curiously ambiguous ending might make you wonder what point the film was trying to make about morality. Be assured that after the Code was in effect, this picture would have ended differently.
20 of 20 people found this review helpful.
Was this review helpful to you?