A young girl falls in with a gang of criminals. One of their capers is robbing the house of a wealthy socialite who happens to look just like her. In the process of cleaning out the house, ... See full summary »
In 1925, John becomes President of the prosperous Warren Bank when Maggie retires. Six years later, John, Helen and the two children are happy in their home, but the two mother-in-laws are ... See full summary »
Middle-aged, small-town widow Hattie Burns is angered when a friend's daughter is inadvertently killed by s stray bullet in a gangland shootout at a local speakeasy. When Hattie confronts the mayor, a political hack running for re-election, at a campaign event about closing the illegal operations down, he brushes her off as only a woman. Other women at the rally draft her as a rival candidate with best-friend Ivy as campaign manager and female voters go on a "Lysistrata"-like parlor, bedroom, and bath strike in order to insure Hattie's election. Unfortunately, Hattie does not know that her daughter Myrtle's boyfriend, a reformed but wounded hoodlum, is hiding out in her attic. Written by
[Last lines at the commencement of Myrtle and Benny's marriage ceremony]
And, you know, it isn't every young couple that can have the wedding ceremony performed by Her Honor, the Mayor.
No, and it isn't every young couple that can have as Matron of Honor, the Commissioner of Garbage.
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This sprightly programmer, starring Marie Dressler, transforms the story to modern politics ca. 1931. Dressler and the women are anxious to close the speakeasies -- this was made during Prohibition. There is a strong cast of women, including Polly Moran, Joan Marsh and Karen Morley. The men are played by supporting comics, including Roscoe Ates, on whose voice Porky Pig was modeled.
Dressler was an interesting character. A big legitimate stage star, she was one of the leaders of the strike that formed Actor's Equity. By the late 1920s, she was washed up, until screenwriter Frances Marion wrote a role for her, and by 1931, she was MGM's biggest star. Her character was a fat, good-intentioned, foul-mouthed harridan, and she could tread the line between comedy and drama as surefootedly as anyone in the industry.
Charles Reisner directs without much visual flair in this movie. He relies mostly on cuts to move the story along, moving the camera only slightly to maintain composition.
POLITICS is pretty well dated, but it remains a fascinating film, if only for the performance of Miss Dressler.
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