Radio singer Glory Eden is publicized as the ideal of American womanhood, in order to sell the sponsor's product Ippsie-Wippsie Washcloths. In reality, Glory would like to at least sample ... See full summary »
A young Russian girl is forced into a life of prostitution in Czarist Russia, and she and a British journalist find their lives endangered when she reveals to him information regarding the ... See full summary »
Dr "Peggy" Simmons, a successful and respected plastic surgeon, encounters job stress beyond her control. Lacking a social side to her harried life and desperately seeking romance, she ... See full summary »
At a hotel in the middle of the Sahara Desert, an old man and his beautiful daughter try to keep the location of a hidden treasure from a collection of thieves and criminals staying at the ... See full summary »
Anne Brooks is being blackmailed by her old dancing partner Maurice. They married when she was young but broke up after which he said he was getting a quickie divorce. Anne married the much... See full summary »
New York girl has a dull boyfriend and seems destined for a dull marriage when she meets a rich playboy who has money to burn and places to go. She gets involved with the playboy and never ... See full summary »
Dick will do anything to protect his sister Jean as would her father. But she is in love with sleazy Harry Swift who has his eye on her money. When Harry has her stay with him at a hotel ... See full summary »
The Depression era comes alive in this film about a waitress (Wynne Gibson) who falls in love with a street-fighting hoodlum, Red Branagan (William Gargan). When Branagan goes to prison for beating up some cops, Aggie is left broke and on her own, eventually meeting Adoniram Schlump (Charles Farrell), a rich sissy from Upstate trying to make it in the big city. Under Aggie's tutelage, Schlump takes on Branagan's identity and his combativeness. Then the real Branagan gets out of prison....
Gibson and Gargan are particularly good as a couple of tough New Yorkers struggling to make ends meet, and Farrell (reminiscent here of Harold Lloyd, whom he slightly resembled) comes alive as a neurotic rich boy who finds success as a brawler. The film's use of slang is especially entertaining -- dated, but colorful. (Aggie tells Schlump: "Stop talking like a lollipop. Use some words with hair on them.")
Can't help wondering whether the film's clever title would have been possible a year or two later, with the coming of the Production Code.
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