In New York City, a young model is swept off her feet by a debonair, handsome young man. Unfortunately for her, he didn't want to get married but had been stringing her along. When she ...
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Rick and Dot, two penniless New Yorkers, meet and fall in love in Central Park. Promising to meet later, they separate. Dot is picked up by small-time hood Nick Sarno, posing as a police ... See full summary »
Seventy-two hours in the life of Indiana man Bud who inherits money and heads for New York City where his cousin Gibbony introduces him to chorus girl Vida for whom he falls. When a girl is... See full summary »
In New York City, a young model is swept off her feet by a debonair, handsome young man. Unfortunately for her, he didn't want to get married but had been stringing her along. When she realizes he doesn't WANT her she will not force him even though she learned she was pregnant. She becomes bitter and angry at all men, until she meets a gentle and kind artist who tries to show her that her life can be better than it is. Written by
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 »
When Margaret takes the 1789 Robert Burns edition from her father and sets it on a shelf, she crosses under the microphone boom and it casts a shadow on her. See more »
Joan Blondell, here playing the little sister, is about a thousand times more charismatic on-screen than star Dorothy Mackaill, and her presence is one of the only excuses to give THE RECKLESS HOUR (1931) a shot.
The Depression-era melodrama starts off boringly enough (until we meet Blondell's character) and covers the familiar ground of the rich boy dating the middle class girl and making promises he never intends to keep, leaving the girl to suffer the consequences on her own.
Dorothy Mackaill's line readings really bring the movie down. It's something about her enunciation and how she spaces her lines apart. Blondell, for example, is much more naturalistic, but H.B. Warner and Conrad Nagel are also noticeably better than Mackaill in their scenes with her. Top-billed Mackaill is probably the worst actor in the whole film, and some of the scenes late in the movie, with the melodrama slapped on pretty thick, are almost impossible to take seriously.
Joan Blondell, just starting out in Hollywood, is relegated to a supporting role with limited screen time, but is nevertheless delightful. Fans of hers might want to give this one a look if it shows up on TCM. Otherwise...
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