After Police Captain Dan McLaren becomes police commissioner former detective Johnny Blake knocks him down convincing rackets boss Al Kruger that Blake is sincere in his effort to join the ... See full summary »
Edward G. Robinson,
Raymond Dabney returns to his family after trouble with the law. He convinces the sheriff to give him a job watching the house and furniture of widow Crystal Wetherby without knowing she is... See full summary »
At 52 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, soon to be her co-star in Red Dust (1932) later the same year. Also prominently displayed is the less well recognized Lynn Fontanne who had recently completed her work in MGM's The Guardsman (1931) and another of Helen Chandler who had just appeared opposite Ramon Novarro in MGM's Daybreak (1931). See more »
When Tom and Mac go out to see Jim at his new, quieter precinct, Jim passes out cigars. Mac takes a couple or three and then is seen putting them into his coat pocket twice in successive shots. See more »
Opening card: Instead of the glorification of cowardly gangsters, we need the glorification of policemen who do their duty and give their lives in public protection. If the police had the vigilant universal backing of the public opinion in their communities, if they had the implacable support of the prosecuting authorities and the courts, I am convinced that our police would stamp out the excessive crime, which had disgraced some of our great cities. ---- President Herbert Hoover See more »
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.
24 of 26 people found this review helpful.
Was this review helpful to you?
| Report this