Prizefighter Jimmy Dolan accidentally kills a man at a party and escapes. He hides out at a health farm for invalid children and begins to lose his cynicism under the influence of the ...
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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 »
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
Selina lived well until her father Simeon died. Her aunts sold the estate and put her in a boarding school. As an adult she wants to be a teacher in farming country. She falls in love with ... See full summary »
William A. Wellman
Robert will do anything to get the big account that has eluded him. His public relations business makes public angels of rich scoundrels. Jean needs someone to save the paper and she wants ... See full summary »
Olivia de Havilland,
A Parisian sewer worker longs for a rise in status and a beautiful wife. He rescues a girl from the police, lives with her in a barren flat on the seventh floor, and then marches away to ... See full summary »
Prizefighter Jimmy Dolan accidentally kills a man at a party and escapes. He hides out at a health farm for invalid children and begins to lose his cynicism under the influence of the children and of Peggy and Mrs. Moore, who run the farm. When a detective recognizes him, Jimmy must decide whether to escape or stay and face his responsibilities to the children. Written by
Jim Beaver <email@example.com>
The police broadcast the license number of Dolan's car in which Woods and Goldie are fleeing (1U-42-91), but it's not the same as the actual license plate of their Lincoln which is visible in several shots (4B72-47); when the car is wrecked, it suddenly changes from a Lincoln to a Ford, and now bears the same license number as the one originally broadcast. See more »
Then why'd ya come here and fight me for?
I saw yer picture in the papers, I thought I might like ta be alone with ya.
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Real Good Pre-Code Movie, Much Better Than Its 1939 Remake
1933's The Life of Jimmy Dolan, a fine movie, is a good example of how the Motion Picture Production code of July 1934 changed movies, since, for comparison, you have the 1939 remake, They Made Me a Criminal. The big difference is that the remake turns a tough story into sentimental claptrap, making sure that crime does not pay. Douglas Fairbanks Jr. doesn't get the credit he deserves as a star in the Warner Bros. repertory company, but he looks too skinny and upper class for a champion boxer. John Garfield is better cast for the part, especially with his nervous energy. But the 1933 picture is way more realistic and cynical. In the 1933 version of a boxer's life, everyone has hard times, including John Wayne, who gets carried out after trying to go the distance in a boxing contest between amateurs and a pro fighter. Production Code Administrator Breen wouldn't allow crime to pay at all, liked a white bread world and would have stopped Warner Bros. from re-releasing The Life of Jimmy Dolan. That was not a problem, because of the remake. The better movie about the boxer on the lam is the one made in 1933. Gritty movies like The Life of Jimmy Dolan vanished until after the demise of the Production Code in the early 1960s. What movies Hollywood would have made if not for rigid censorship for over 25 years is an unanswerable question. Warner Bros. pre-code sound movies indicate that older movies made before censorship have dated a lot better than much of the drivel released during the Breen censorship period.
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