Gunner and Bucker are pals who work as riveters. Whenever Bucker gets the urge to marry, which is often, Gunner will hit on his girl to see if she is true or not. So far, Gunner has not ... See full summary »
Alcoholic newspaperman Steve Bramley boards the San Capador for a restful cruise, hoping to quit drinking and begin writing a book. Also on board are Steve's friend Schulte, a private ... See full summary »
Although his murdered friend was by all accounts a scoundrel a true "bounder" Edward Wales is determined to trap his killer by staging a seance using a famous medium. Many of the 13 seance ... See full summary »
At the wedding of Albert and Anna, Karl, the new chauffeur, arrives. Albert is the head butler, second generation to the Baron. Karl soon seems out of place as a servant, and Albert tells ... See full summary »
This movie opens in 1905, when showgirl and daughter of a deceased gambler Peggy Martin falls in love with Monte Van Tyle and breaks the news to lover Fiske that she is leaving him. She and... See full summary »
Gunner and Bucker are pals who work as riveters. Whenever Bucker gets the urge to marry, which is often, Gunner will hit on his girl to see if she is true or not. So far, Gunner has not failed. But one night, while Gunner is in jail, Bucker meets Mary, a tough dame with a line. He falls for her, and she falls for his dough. But Mary is already a gal pal of Gunner, and no two know about the third one. The trouble starts when the triangle is revealed too late. Written by
Tony Fontana <firstname.lastname@example.org>
They were not the marrying kind, so they agreed that neither one could wed until his pal had tried to win his girl away! The funniest love-test ever made, with thrills and laughs galore when they both fall for the same girl!
When Bucker (Robert Armstrong) and Mary (Mae Clarke) go to the movies, the unidentified film they see is an MGM production of 1931, Laughing Sinners (1931). Joan Crawford and Neil Hamilton are on screen. See more »
One cannot help but wonder how this film could have been made, even at the height of the era of mass production at the Hollywood dream factory. It is frankly utterly boring and I had lost interest totally two thirds of the way through. It will be of interest only to scholars and film buffs tracking the demise of the career of John Gilbert. That was my reason for viewing it. The basic plot is implausible and there is too much talk and obscure dialogue. The direction is heavy handed and it appears as if the director considered it a chore. Browning was at his best with macabre/horror type films and he is all at sea here. If Mayer was intent on destroying Gilbert's career, then there is no better proof of evil intent than casting him in such a vehicle in his final role under contract to MGM. It could have been intended only as a second feature/programme filler. As a jazz follower I am convinced the leading black musician(uncredited) in the cabaret scene is Lionel Hampton, then totally unknown, who within a very short time became a leading figure of the swing era in the Benny Goodman Trio/Quartet and later a highly successful band leader in his own right.
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