At a big party, Roger Fallon, now a woman-hater, right to the core - this all due to a failed marriage and disastrous love affairs - talks to Herbert Drake. Herbert who is happily married, ... See full summary »
William K. Howard
After a lukewarm marriage of over twenty years, a woman appeals to her husband's compassion to obtain the desirable divorce document in front of court, which proves to be more challenging than she would expect.
Small time con artist Lefty Merrill has co-organized a crooked dance marathon and set-up his girlfriend to win the prize money. When his partner disappears with money before the contest is ... See full summary »
Impoverished Jane Miller is loved by millionaire Roger and newspaperman William. Though William warns her otherwise, she goes with the millionaire to his French chateau where she risks ... See full summary »
The work of a progressive female psychiatrist and her colleague at a mental hospital is threatened by the arrival of a conservative new supervisor, who disapproves of both her methods and the fact that she is a woman in a "man's field."
Gregory La Cava
William K. Howard was given the task of turning a popular radio serial into a movie, and succeeded. A carefully-written script that actually paid attention to the way cases are tried was the first step. Some great support, particularly Skeets Gallegher and the always fascinating Zasu Pitts helps. A restless camera helps keep up speed, and some interesting sets -- particularly the nightclub set -- make this a fine movie, even if the leads, who became lovers more than twenty years later, had no memory of working together on this one.
I wish to call your attention, if you ever have the chance to see this movie -- it is very rare and the one print I saw was a 16 mm. print, blurry as you would expect -- to the swish cuts. A swish cut is when the camera starts to pan away, then the illusion of high speed movement starts and when the camera slows down it is panning into a new shot -- maybe a quarter second elapses. It adds tremendous excitement to a sequence and Howard uses a lot of them here.
Unhappily, a lot of editing techniques for shot changes were on their ways out. By about 1935, Hollywood had settled on the now-standard techniques, except for a few movies which attempt to evoke the older movies. A loss to film grammar, but what can we do about it now, except to enjoy these techniques when we see them?
May 20 2010: I just noticed a modern use of the swish cut: any Doctor Who fan out there should take a look at Season 5 Episode 4 for the use of one, four minutes into the proceedings.
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