The wealthy president of a big railroad, who's beginning to crumble under the combined pressure of business, personal and physical problems, meets up with a pair of hoboes from whom he ... See full summary »

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Cast

Complete credited cast:
...
Ray Walker ...
...
Helen Matthews
...
Oliver
...
King
Jimmy Conlin ...
Nap (as James Conlin)
Jane Keckley ...
Aunt Martha
...
Dr. Stafford (as Harry Bradley)
...
Charlie Carter (as George Hayes)
Fern Emmett ...
Mrs. Benton
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Storyline

The wealthy president of a big railroad, who's beginning to crumble under the combined pressure of business, personal and physical problems, meets up with a pair of hoboes from whom he starts to learn how to really enjoy life in ways he never knew were possible. Written by frankfob2@yahoo.com

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Comedy | Romance

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Release Date:

15 April 1934 (USA)  »

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Sound Mix:

(Balsley and Phillips Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The earliest documented telecast of this film took place in New York City Friday 19 May 1950 on the Night Owl Theatre on WPIX (Channel 11). See more »

Connections

Remade as Father Steps Out (1941) See more »

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User Reviews

 
Nigh at well-nigh his best!
25 October 2012 | by See all my reviews

One of the problems I encounter with most reference books, is that they ignore the products of Poverty Row – unless of course they have amassed a large cult following. So you won't find "City Limits" in any of the must-see reference books. A pity, because this Monogram comedy comes as a great surprise. The players, led by now under-rated Frank Craven – Craven had a fair-sized cult following fifty years ago, but it now seems to have evaporated – are not only extremely personable, but all give such a good account of the script that few viewers will notice the complete absence of background music. Not to over-emphasize the point, the cast is one of the best Monogram ever assembled. James Burke and Jimmy Conlin are especially delightful as a couple of well-spoken tramps, whilst George "Gabby" Hayes is commendably unrecognizable without his beard and his phony voice.

Also deserving of unstinted praise is the photography of Jerry Ash, which seems astonishingly "modern" and crisp. It also includes some excellent location work. As for William Nigh's well-paced direction, for once we can well believe that in the late 1920s, Nigh was a highly regarded, top-flight director of prestige, top-budget pictures starring Metro-Goldwyn-Mayer's most prestigious talents including Joan Crawford, Lon Chaney, Ramon Novarro, and John Gilbert.


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