It's the early days of the F.B.I. - federal agents working for the Department of Justice. Though they've got limited powers - they don't carry weapons and have to get local police approval ... See full summary »
Orphans Edward "Blackie" Gallagher and Jim Wade are lifelong friends who take different paths in life. Blackie thrives on gambling and grows up to be a hard-nosed racketeer. Bookworm Wade becomes a D.A. vying for the Governorship. When Blackie's girlfriend Eleanor leaves him and marries the more down to earth Wade, Blackie harbors no resentment. In fact, their friendship is so strong that Blackie murders an attorney threatening to derail Wade's bid to become Governor. The morally straight Wade's last job as D.A. is to convict his friend of the murder, and send him to the electric chair. After he becomes Governor, Wade has the authority to commute Blackie's death sentence-- a decision that pits his high moral ethics against a lifelong friendship. Written by
Gary Jackson <firstname.lastname@example.org>
Lorenz Hart was asked to write more commercially appealing lyrics to "The Bad in Every Man" after this movie was released. The result was "Blue Moon," which was copyrighted under that title in December 1934. See more »
When Blackie picks up a magazine from the couch after Eleanor leaves him, it is a close up of a Ladies Home Journal from a leopard skin upholstered couch. In the wide shot, he is holding a Vogue and the couch is plainly upholstered, not leopard skin. See more »
The Bad in Every Man
later retitled "Blue Moon" with new lyrics
Music by Richard Rodgers
Lyrics by Lorenz Hart
Sung by Shirley Ross at the Cotton Club
Reprised as background music for the death house scene See more »
Two boyhood friends (one played by a very young Mickey Rooney) grow up on opposite sides of the law. Clark Gable becomes a criminal--William Powell becomes governor. Myrna Loy loves both.
This plot is now screamingly familar but, back in 1934, this was original. In fact it won the Best Original Story Oscar for its year. This could have been a real howler but a great cast, tight script and wonderful direction really put it over. Well worth catching--especially for a powerful climatic scene between Powell and Gable. A classic of its type.
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