A society novelist brings a brash young chorus girl home in order to study her for inspiration for his new novel. His family is distraught, but soon her behavior has forever altered their ... See full summary »
Laura Nash is an ex-con who is befriended by Polakai, a waiter who is also a wrestler. Even though Polakai is kind to her, she pines for Nick, her old partner in crime. When she gets Nick out of jail, she tells him that she is pregnant and he leaves for America. Laura then marries Polakai, who adores her, and he becomes the wrestling champion of Germany. Laura makes Polakai move to America where she finds Nick and he becomes his manager. Polakai wants to wrestle fairly, but Nick and Joe are both crooked and are only in it for the money. Polakai does not know that Laura still desires Nick. Written by
Tony Fontana <firstname.lastname@example.org>
Flesh is the story of two people who would seem to be unlikely alliances. This is just one example of how films in the golden days of Hollywood center on character and how they relate to each other to further the plot rather than action or violence. There is something natural or humanely real and raw about this film. That's probably why it's called Flesh. But it's not centering on lust or sex, like today's films would, with Flesh for its title. This is about the basic need to give and receive love and acceptance to each other, even in the last place you'd look. If you're looking for an intelligent film about human relationships and don't mind the early 1930s look of black-and-white, this film shows Karen Morley, a vastly underrated actress and largely forgotten today, and Wallace Beery at their best. This could very well be Ms. Morley's finest hour in films. To not see this film would be missing a lesson in love.
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