| Spencer Tracy | ... | Danny Dolan | |
| Joan Bennett | ... | Helen Riley | |
| Marion Burns | ... | Kate Riley | |
| George Walsh | ... | Duke Castenega | |
| J. Farrell MacDonald | ... | Pop Riley | |
| Noel Madison | ... | Baby Face Castenega | |
| Henry B. Walthall | ... | Sgt. John Collins aka Sarge | |
| Bert Hanlon | ... | Jake | |
| Adrian Morris | ... | Allen aka Al | |
| George Chandler | ... | Eddie Collins | |
| rest of cast listed alphabetically: | |||
| Frank Atkinson | ... | Ashley's Chum (uncredited) | |
| Billy Bevan | ... | Ashley (uncredited) | |
| Heinie Conklin | ... | Bank Robbery Accomplice (uncredited) | |
| Emmett Corrigan | ... | Police Captain (uncredited) | |
| Jesse De Vorska | ... | Jake Castenega (uncredited) | |
| Lemist Esler | ... | Doctor (uncredited) | |
| Chuck Hamilton | ... | Dock Worker (uncredited) | |
| Roger Imhof | ... | Down and Outer (uncredited) | |
| Mike Lally | ... | Wedding Guest (uncredited) | |
| Hank Mann | ... | Hank (uncredited) | |
| James A. Marcus | ... | Tugboat Captain (uncredited) | |
| Frank Moran | ... | Frank - Drunk's Foil (uncredited) | |
| Pat Moriarity | ... | Minister (uncredited) | |
| Russ Powell | ... | Burper (uncredited) | |
| Dick Rush | ... | Police Desk Sergeant (uncredited) | |
| Ralph Sipperly | ... | English Drunk (uncredited) | |
| Will Stanton | ... | Drunk (uncredited) | |
| Phil Tead | ... | Radio Salesman (uncredited) | |
| Eleanor Wesselhoeft | ... | Wife (uncredited) | |
Directed by | |||
| Raoul Walsh | |||
Writing credits | ||
| Philip Klein | (story) and | |
| Barry Conners | (story) | |
| Arthur Kober | ||
| Frank Dolan | uncredited and | |
| Philip Dunne | uncredited and | |
| Charles Vidor | uncredited and | |
| Alfred A. Cohn | uncredited | |
Cinematography by | |||
| Arthur C. Miller | (as Arthur Miller) | ||
Film Editing by | |||
| Jack Murray | (uncredited) | ||
Art Direction by | |||
| Gordon Wiles | |||
Costume Design by | |||
| Rita Kaufman | |||
Second Unit Director or Assistant Director | |||
| Horace Hough | .... | assistant director (uncredited) | |
Art Department | |||
| Don B. Greenwood | .... | property master | |
Sound Department | |||
| George Leverett | .... | sound recording engineer | |
Camera and Electrical Department | |||
| Billy Abbott | .... | assistant camera (uncredited) | |
| Don Anderson | .... | assistant camera (uncredited) | |
| Roy Johnson | .... | still photographer (uncredited) | |
| Joseph LaShelle | .... | camera operator (uncredited) | |
| Clarence Slifer | .... | assistant camera (uncredited) | |
Music Department | |||
| George Lipschultz | .... | musical director | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
"Me and My Gal" is an ingratiating pre-Code comedy-drama enhanced by spirited banter between Spencer Tracy and Joan Bennett who play two young people feeling each other out as potential mates. Bennett is surprisingly good as a wise-cracking, down-to-earth waitress who speaks her mind and can easily hold her own against Tracy's New York City cop. The pre-Code era's lack of pretense about sexuality makes their impassioned kiss in the diner -- as the two knock over items on the lunch counter -- all the more humorous. Bennett, both impressed and amused by Tracy's kiss, responds: "If you're gonna kiss me like that, you're gonna have to marry me." It's a magical little moment that caused the passage of time since 1932 to drop away and left me there with them to enjoy the fun.
A sub-plot involves Bennett's newly married sister, a good girl who nevertheless can't resist her bad boy gangster ex-boyfriend. When he needs to hide from the police, she installs him in a spare bedroom, under the nose of her disabled father-in-law who is confined to a wheelchair, can't speak a word and communicates only by blinking his eyes in Morse code. Later, when everything gets resolved, Tracy tells the father-in-law that the daughter-in-law is a good kid at heart in spite of what she did, expressing pre-Code generosity for forgiveness and tolerance, even in sexual transgressions with gangsters.