6.7/10
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High Pressure (1932)

Gar Evans is a "high pressure" promoter who tends to be unrealistically optimistic about his projects and exaggerates the chance of success. He sets up the "Golden Gate Artificial Rubber ... See full summary »

Director:

(as Mervyn Le Roy)

Writers:

(play), (screen version)
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Cast

Complete credited cast:
...
...
Francine Dale
George Sidney ...
Colonel Ginsburg
...
Jimmy Moore
...
...
Clifford Gray
...
Mike Donahey
...
Mr. Hackett
...
Geoffrey Weston
Harold Waldridge ...
Gus Vanderbilt (as Harold Waldrige)
...
Mr. Banks
...
Dr. Rudolph Pfeiffer
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Storyline

Gar Evans is a "high pressure" promoter who tends to be unrealistically optimistic about his projects and exaggerates the chance of success. He sets up the "Golden Gate Artificial Rubber Company", and persuades a lot of people to invest. He believes that the process to produce artificial rubber exists, but does it? Written by ppllkk

Plot Summary | Add Synopsis

Genres:

Comedy

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Details

Country:

Language:

Release Date:

30 January 1932 (USA)  »

Also Known As:

Ein ausgefuchster Gauner  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(Turner library print)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Several people in studio records/casting call lists as cast members did not appear, were not identifiable, or were replaced in the movie. These were (with their character names, if any): Lucien Littlefield (Oscar Brown - [replaced by Frank Darien]), Maurice Black (Poppolus - [replaced by Hector V. Sarno]) and Lilian Bond. See more »

Connections

Version of Hot Money (1936) See more »

Soundtracks

I Can't Get Mississippi Off My Mind
(1931) (uncredited)
Music by Harry Akst
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User Reviews

 
Powell at his peak!
12 January 2007 | by See all my reviews

Another wonderfully fast-moving early 1930s comedy with Powell in his element as a pushy promoter, this one is based on a stage play. As anticipated, it's rather talky, but the dialogue surfeit doesn't slow down the pace a single bit thanks to the masterful direction of Mervyn LeRoy who keeps the movie moving at such a rapid pace, it leaves the viewer begging for more as soon as "The End" flashes on the screen.

Assisted by Kurrle's fine photography and Grot's superlative sets, LeRoy has staged the movie using the full resources of the now mature sound cinema. Sequences like that in which a dialogue exchange between Powell and Brent is underscored by the tumultuous din of a salesmen's convention where the participants are growing more and more impatient by the second, have never been equaled, let alone surpassed. In fact, if anything (perhaps due to the dead hand of censorship), mainstream Hollywood seemed to grow more timid and less inventive as the 1930s advanced.

Powell has a great supporting cast to contend with, but still comes out on top.


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