Story of the goings-on at a Prohibition-era nightclub.

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Cast

Complete credited cast:
...
...
Ruth Taylor
...
'Happy' MacDonald
...
Jill MacDonald
...
Klauss
...
Mrs. Rand
...
Tim Washington, the Doorman
Dorothy Peterson ...
Edith Blair
...
Tommy
...
Ed Powell
...
Joe
...
Jim
Robert Emmett O'Connor ...
The Policeman
...
Cigarette Girl
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Storyline

"Happy" MacDonald and his unfaithful wife own a Prohibition era night club. On this eventful night, he is threatened by bootleggers, and the club's star dancer falls in love with a young socialite who drinks to forget a personal tragedy, among other incidents. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Language:

Release Date:

5 May 1932 (USA)  »

Also Known As:

Cabaret de nuit  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The costumes of the chorus Girls in the second number (which ends act one) is reused from the "Happy Feet" number from King of Jazz (1930) See more »

Quotes

'Happy' MacDonald: Never give a sucker an even break.
Ed Powell: I never give anybody an even break.
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Connections

References Frankenstein (1931) See more »

Soundtracks

Who's Your Little Who-Zis?
(uncredited)
Written by Ben Bernie, Al Goering and Walter Hirsch
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User Reviews

 
Odd little film for buffs
5 October 2006 | by (Arizona) – See all my reviews

Poor Mae Clark was in loads of films yet is most known for getting a grapefruit in the kisser from James Cagney in 'Public Enemy.' So it's nice to see her in a part with a few more brains. She is just part of an odd mixed-salad of a cast. Some, like Boris Karloff as an awkwardly gangly night-club owner, and Bert Roach as a silly drunk, seem to be in strange waters. Others, like Lew Ayers and George Raft, get roles typical of their young careers. Though she has only one scene in this very short film, Hedda Hopper steals the show as the world's worst mother.

The only character to really warm to is The Doorman, Tim Washington (Clarence Muse). He is clearly in a horrible situation which those around pity at best and ignore at worst. So many African-American roles in the white films of the '30s are painful to watch, but Muse brings something special to this thankless part.

Cinematographer Merritt Gerstad shows an inventive eye both in the opening montage and in scenes that would otherwise be nothing to look at. And of course, we get brief Busby Berkeley numbers, which would never really work in a night club, but allowances must be made for Hollywood.


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