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 »
Idealistic attorney Anton Adam makes headlines when he successfully prosecutes a prominent New York racketeer named Gilmurry. Adam's sudden renown attracts the attention of high-profile ... See full summary »
William Powell plays William Foster, a slick attorney who stays within the law, but specializes in representing crooks and shady characters. He's adept at keeping them out of jail, winning ... See full summary »
The family consists of Pat, the cop, Mike the fireman, Danny the boxing promoter and Ma. Pat wants Danny to get a real job, because most of his fighters end up in Polookaville and Pat wants... See full summary »
Olivia de Havilland
To share expenses unemployed Alabama move in with also unemployed Bill and Toodles. Bill is hired by a gangster's mistress and ultimately becomes the gangster's bodyguard. Alabama ... See full summary »
Alfred E. Green
Douglas Fairbanks Jr.,
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
In the opening scene in a speakeasy, Colonel Ginsburg takes a sip of beer, grimaces and says "I can taste the needles". This refers to "needle beer" which was made by taking legal, low-alcohol beer and adding grain alcohol to it, often by injecting into the keg with a needle. See more »
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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