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 »
Angela and Bob Brooks are an upper class couple. Unfortunately, Bob is an unfaithful husband. But Angela has a plan to win back her husband's affections. An elaborate masquerade ball is to ... See full summary »
After accidentally killing the man who raped her and forced her into prostitution, a New Orleans woman flees to a Caribbean island. While she awaits her fiancé, the vicious local police chief sets his sights on her.
William A. Wellman
American showgirl Suzy is in London in 1914. She loves Irish inventor Terry who works for an engineering firm owned by a German woman. After their marriage Terry is murdered and Suzy flees ... See full summary »
Prizefighter Mason loses his opening fight so wife Rose leaves him for Hollywood. Without her around Mason trains and starts winning. Rose comes back and wants Mason to dump his manager Regan and replace him with her secret lover Lewis.
Fifty-two minutes into the film Daisy (Jean Harlow) has a party at her place. On a small table against the back wall is a photo of Clark Gable, her co-star in Red Dust (1932) the same year. See more »
Capt. Jim Fitzpatrick:
[enters jail cell full of yelling prisoners who suddenly go quiet]
Well, sounds like the inside of a bird store. Lot of fine brave boys aren't you? Come on, why don't you keep it up? Teacher's lookin' at you. That why? It'd be different if you were hidin' behind an alley door wouldn't it? It'd be different if you had that shot of hop handy so you could pump yourself full of enough guts to shoot somebody in the back . Take away your guns and your hop and you're nothing but crawling yellow maggots.
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This is one of the grittiest of the pre-Production Code features. It is important to realize that just two years later, with the implementation of the rewritten Production Code in 1934, this film could not have been made.
As with any piece of popular entertainment that is nearly 70 years old, there are going to be dated elements. What is more important is how relatively modern this film feels, especially compared to the films made under the Production Code after 1934. The story is a hard slice of life, and it will not suit all tastes. This is especially true for those who have been too conditioned by Production Code features and television.
The ending has been compared to Sam Peckinpah's THE WILD BUNCH and Don Siegel's DIRTY HARRY, and not without cause. However, try to imagine yourself as a member of the original theatrical release audience in 1932. There would have been very little to prepare you for it, apart from DOORWAY TO HELL, LITTLE CAESAR, PUBLIC ENEMY, and SCARFACE. The difference here is that the story is told from the point of view of the men in law enforcement. It focuses on something that was common knowledge at the time, that prohibition had corrupted law enforcement far beyond the scope of anything the public had ever known.
The remedy for corruption that this film prescribes is very strong medicine indeed. You may not like it, but I defy you not to think about it for a long time after you've seen it.
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