From aboard the IMDboat at San Diego Comic-Con, Kevin Smith talks to the cast of "Teen Wolf" about the solemn yet celebratory panel for the upcoming season. This news and more in our Guide to Comic-Con.
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 ... See full summary »
Douglas Fairbanks Jr.,
Nurse Anne Lee blames herself for a fatal mistake of her sister Lucy, who also is a nurse. Anne loses her job, and gets a new one at a poorly equipped country hospital. There she falls in ... See full summary »
Marge Walker, the daughter of a steamship-line owner, stows away on one of her father's ships bound for Shanghai. Roy Dale, the captain of the ship, is in love with her as is the first ... See full summary »
A class vs class tale of a model at a department store that supports her family who's torn between two rival beaus, a local garage mechanic she's known for years, and the wealthy son of the store's owner. Various hardships like losing her job, the rich boy's extended separation, and and accident at the garage pressure her to make a decision between them. Written by
Take a letter to Mrs. Hartwell. 'Madam: Your son is heading for another jam with one of my models. Suggest getting the baboon to Newport, if your bridge and golf can spare you. I can't manage a business and play wet-nurse to an idiot.' That's all.
Add a postscript. 'I will not send a check to your empty-headed daughter.' Read that back.
[reading from pad]
'Dear wife: I fear Bob is getting involved with a pretty girl at the store. Knowing your tact and diplomacy, I suggest you...
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A mild but decent low-class soaper, well directed by under-rated B director Roy William Neill -- best remembered, these days, for the Sherlock Holmes series starring Rathbone and Bruce that he directed a decade later. There is a spiffy cast in this piece and they give good performances.
It is interesting to compare this Columbia Picture with its Pre-Code contemporaries from the majors and contrast its constant moral tone with the sexier stuff produced by, say, Lubitsch at Paramount. Part of the reason, doubtless, is that a minor studio like Columbia didn't have leverage against the increasingly powerful Production Code that would swamp the sex comedy even at the Majors by the end of the year. But the most of it, I don't doubt, is that the Majors had an eye on the big cities and European markets, while Columbia still was concentrating on the smaller US cities and rural markets.
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