Aubrey cons Amy into thinking he's a railroad bigwig. When he loses his job he takes one wearing a sandwich board. After he helps Joe sell his patent for a good price and an old railroad ... See full summary »
Aubrey cons Amy into thinking he's a railroad bigwig. When he loses his job he takes one wearing a sandwich board. After he helps Joe sell his patent for a good price and an old railroad deal comes through, he's back on top and ready to marry Amy again. Written by
Ed Stephan <email@example.com>
Studio hacks didn't come any hackier than Charles Reisner, and his inept editing, mise-en-scene (how many useless reaction shots can one programmer contain?), and pacing almost sink this adaptation of a hit stage comedy-drama by George Kelly, uncle of Grace. A prosaic screenplay, surprisingly by Herman Mankiewicz, doesn't help. And the title character, a tediously lying blowhard, wouldn't be interesting to watch if Spencer Tracy, at the beginning of a long and profitable association with MGM, weren't playing him. Tracy brings some variety and emotional ballast to this one-note braggart, whom you might expect to be played by that other MGM Tracy of the day, Lee. Spence even makes him--almost--sympathetic by the rather rushed fadeout. Madge Evans, near the end of her too-brief career, is a lovely and womanly leading lady--you buy the devotion between her and Tracy, though nothing about him seems to warrant it--and Clara Blandick gets lots of footage entertainingly grumping about. And it's hardly the finest moment for the great cinematographer James Wong Howe, but he does come up with a couple of arresting compositions, as well as some expert fakery of New York locations in the first reel.
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