Jimmy idolizes bootlegger Matt, and when he refuses to implicate his friend, he is sent to reform school. He befriends Shorty, a boy with a heart condition, and escapes to let the world know about the brutal conditions.
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Olivia de Havilland
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Alfred E. Green
Edward G. Robinson,
Commercial artist Helen Bauer believes marriage kills romance. She lives with advertising writer Don Peterson. He convinces her to marry him. He later carries on with client Peggy Smith; Helen takes up with Don's competitor Nick Malvyn. In the end, the couple agree to give marriage another chance. Written by
Ed Stephan <firstname.lastname@example.org>
While most of the reviews are pretty positive for this film, I wasn't so impressed by it and it left me awfully confused. That's because this movie seemed to strongly support open marriage and living together--real taboos for the 1930s and its obvious this was made just as the Hays Code was about to be enforced. Such a film NEVER could have been made just a few years later.
I was confused also because frankly I didn't find the relationship between Bette Davis and Franchot Tone very romantic. Yes, I am a very traditional person and I just didn't buy their contention that marriage was a sham. But, this DOES make the film a bit of a curiosity.
Overall, this film isn't one of Davis' best. She made some marvelous films in the 1930s and a lot of really mediocre and lousy ones as well--so variable in quality that Ms. Davis tried to break her contract with Warner Brothers. This would seem to be such a mediocre film.
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