Mary Rutledge arrives from the east, finds her fiance dead, and goes to work at the roulette wheel of Louis Charnalis' Bella Donna, a rowdy gambling house in San Francisco in the 1850s. She... See full summary »
Edward G. Robinson,
Dorothy Hunter is an heiress of untold wealth. She believes no one will love her for herself and not for her money, so she pretends to be her secretary Sylvia while Sylvia pretends to be ... See full summary »
A wealthy but neurotic Southern belle finds herself trapped in the hideout of a gang of vicious bootleggers. The gang's leader lusts after her, and is determined not to let anything stand in the way of his having her.
Jack La Rue
During the 1917 Russian revolution, a group of artistocrats find themselves in the custody of a brutal Communist revolutionary. He lusts after one of them, a ballerina, and gives her an ... See full summary »
The daughter of a senator from South Dakota visits Manhattan for the first time, eager to see the sights of the big city. While there, she finds herself caught up in an affair with a ... See full summary »
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
You're afraid, all right. You're afraid you won't get what you want. You're still a little girl who always ate the last piece of candy; who had more dresses than any other kid in school; who sulked if she didn't get the most attention at a party. Now you want to add a man to all your other dolls and toys.
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"All of Me" is not a highlight in the career of any of the principal players. It is slow to get to any point, and after the climax it slithers off weakly into nothing.
That said, none of the actors is bad here, and all have flashes of something quite special. James Flood's direction is so stilted it drags the sometimes interesting dialogue down with it. And none of the performances can quite rise above that. The plot is absurd while it tries to be important. The script plays coy with the obvious element of out-of-wedlock pregnancies not to mention premarital sex. The end scene, if you can call it that, is the limpest point of the film.
Fredric March is reteamed with Miriam Hopkins for the first time since they were so great in "Dr. Jekyll and Mr. Hyde." The combination is not nearly as interesting here. They are lovers (he a professor and she a student, for added raciness) who have intellectual differences about love and marriage. Only when they cross paths with George Raft and Helen Mack do they begin to discover that love is more about heart and soul than about a thought process. Raft and Mack are lovers trying to overcome a criminal lifestyle that has left them at the mercy of the System.
March underplays his role with aplomb and disappears for a long stretch while Hopkins (for good reason) seems to struggle to find motivation in her confused character. Their situation gets tiring and is set aside all together as the Raft-Mack subplot takes over. This is fortunate as it is much more interesting. Unexpectedly, after slogging through the storyline, Raft is quite compelling in the climax. Mack is direct and on-point throughout.
March and Raft were both stars for Paramount, and the studio would have had trouble finding two more different men with such different styles. That could have been interesting, but alas, they have only one scene together.
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