Torch singer Joan Gordon, tiring of her relationship with small-time hood and racketeer Eddie Fields, flees to Montreal and becomes the mail-order bride of down-to-earth farmer Jim Gilson. ... See full summary »
William A. Wellman
Frisco Jenny was orphaned by the 1906 earthquake and fire and has become the madame of a prosperous bawdy house. She puts her son up for adoption and he rises to prominence as district ... See full summary »
William A. Wellman
Helen Jerome Eddy
A poor but honest and hardworking waitress from way across the tracks meets and falls in love with a college student from the upper-stuffy class, but the Mama of the intended objects to the... See full summary »
A young woman is on trial for murder. In flashback, we learn of her struggles to overcome poverty as a teenager -- a mistaken arrest and prison term for shoplifting and lack of employment ... See full summary »
Two days before Marian and Ned are to be married, he is killed by the husband of a woman he was seeing on the side. Marian becomes withdrawn and they send her to the Canadian Rockies for ... See full summary »
Alfred E. Green,
Lilly (Baby Face) sleeps her way from basement speakeasy bartender, literally floor by floor, to the top floor of a New York office building. Bank sub-manager Jimmy McCoy finds her a job in the bank only to be cast aside as she hooks up with the bank's president. When he complains of not seeing her she says: "I'm working so hard I have to go to bed early every night." Written by
Ed Stephan <email@example.com>
Originally banned in some US cities due to its sexual innuendo. See more »
After Lily mentions to Courtland she would like to be a Mrs., there are two shots of newspapers announcing the wedding. The second shot is a close up of two paragraphs. The first paragraph misspells Courtland's name as "Courtney" and the word company as "comany." See more »
Arriving by boxcar in New York City, the shrewd young woman with the BABY FACE begins to methodically canoodle her way to the top floors of power in a great bank.
Barbara Stanwyck is fascinating as the amoral heroine of this influential pre-Code drama. Without a shred of decency or regret, she coolly manipulates the removal or destruction of the men unlucky enough to find themselves in her way. A wonderful actress, Stanwyck has full opportunity here to display her ample talents.
Appearing quite late in the story, George Brent is a welcome addition as the one fellow possibly able to handle Stanwyck; his sophisticated style of acting makes a nice counterpoint to her icy demeanor. Douglas Dumbrille, Donald Cook & Henry Kolker portray a succession of her unfortunate victims.
John Wayne appears for just a few scant seconds as an unsuccessful suitor for Stanwyck's affections. This would be the only time these two performers appeared together on screen.
Movie mavens should recognize Nat Pendleton as a speakeasy customer, and Charles Sellon & Edward Van Sloan as bank executives - all unbilled.
The music heard on the soundtrack throughout the film, perfectly punctuating the plot, is Baby Face' (1926) by Benny Davis & Harry Akst and St. Louis Blues' (1914) by W.C. Handy.
BABY FACE is a prime example of pre-Code naughtiness. In its frank & unapologetic dealing with sex, it is precisely the kind of film which the implementation of the Production Code in 1934 was meant to eliminate.
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