Wilkie and Mitchell, trying to desert their draft into the army, stow away on a ship which takes them into the war zone. While AWOL, the rivals for Mary's affections accidently destroy an ... See full summary »
A. Edward Sutherland
William 'Stage' Boyd,
Cary, Shep, Bill, and Francis are pilots who have just, and only just, survived the First World War. They linger in Europe in the aftermath, drinking and ostensibly having fun, but ... See full summary »
Johnny Mack Brown
Grace hastily marries a French aristocrat during WWII, but is separated by circumstance from him for almost nine years. And when reunited, Charles's philandering causes them to divorce and ... See full summary »
Victor Shanley had once been New York City's most-acclaimed crime-fighting, crusading District Attorney and the scourge of the underworld. But the workaholic demands of the job led him to ... See full summary »
Wealthy socialite Elizabeth Flagg is courted by persistent Michael McLain, despite her protests that she is a married woman. McLain is just charming enough to attract Elizabeth into a ... See full summary »
Vicki Wallace (Joan Blondell) takes great pleasure in teasing her husband,Tony Wallace (Warren William), who takes no pleasure at all in being teased and it isn't long before he ups and ... See full summary »
Edward Everett Horton
Jimmy writes the 'Up and Down Broadway' column for the New York Globe, and he is head over heels for Mary. But Mary is more interested in her career and is looking at starring on Broadway ... See full summary »
William A. Wellman
Douglas Fairbanks Jr.,
A real First National oddity, in that it's mostly a Damon Runyon comedy, part of a mini-Runyon wave then in Hollywood ("Lady for a Day," "Little Miss Marker"), but it's also a historical romance. There's a lengthy, sentimental flashback to 1880s New York, where the Sky Masterson-ish Barthelmess plays a different character altogether, a glum office boy romancing the boss's daughter. (He looks 30 years too old, and he's not the most natural Runyon hero in the modern sequences, either.) The screenwriter has the right ear for Runyonese, a mixture of modern '30s slang and fanciful preciousness, and it's certainly a handsome production, especially in the flashbacks. But the tone isn't consistent, the resolution is too pat (the title is something of a plot giveaway), and the always-interesting Ann Dvorak looks a little bored in a conventional-leading-lady role.
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