An elderly Miss Morrison recounts her life as the once young and beautiful opera singer Marcia Morney-then the toast of Napoleon III's Paris. One evening, she encounters an American voice ... See full summary »
Robert Z. Leonard
Against all odds Father Flanagan starts "Boys' Town" after hearing a convict's story. Whitey Marsh comes there. He runs away but, hungry, returns. He runs away again but, when friend Pee ... See full summary »
Marie is kidnapped and taken aboard ship, then thrown off at Yucatan. She winds up singing in a café in the Panama Canal zone. There she gets involved in a plot to destroy the canal and runs into American intelligence officer Crawbett.
Anna Zador is a secretary who's been working for 6 years at Count Willie Palaffi's bank. Every day, she rides to work on her bike and places flowers on Willie's desk, but Willie (the ... See full summary »
W.S. Van Dyke,
Roy Del Ruth
Edward Everett Horton
Bob Gordon is staging a new Broadway Show, but he is short of money. He gets an offer of money by the young widow Lilian, if she can dance in his new show. Bert Keeler, a paper man, gets ... See full summary »
Mary Blake arrives at Blackie Norton's Paradise gambling hall and beer garden looking for work as a singer. Blackie embarrasses her by asking to see her legs, but does hire her. She faints from hunger. Nob Hill Socialite Jack Burley and Maestro Baldini of the Tivoli Opera House see her singing and offer her a chance to do opera, but Blackie has her under a two-year contract which she sorrowfully stands by. Later, when he makes up posters featuring Mary in tights, she does leave for the Tivoli. Blackie gets an injunction against Burley, but knocks out the process server when he hears Mary's performance as Marguerite in "Faust". She asks her to marry him and she agrees to go back to the Paradise as his kind of singer, but Blackie's childhood chum Father Tim intervenes. After Blackie slugs the priest, Mary leaves. She is soon the star of the Tivoli and Blackie's place is closed down. She sings a rousing "San Francisco" on behalf of the Paradise at the annual "Chicken Ball" and wins the ... Written by
Ed Stephan <firstname.lastname@example.org>
The 'highbrow number' sung by Mary Blake while Blackie Norton entertains Jack Burley and Signor Baldini in his box early in the film, is "A Heart That's Free" by Alfred G. Robyn, composed in 1910. See more »
San Francisco, like so many other films from this era, just reminds me again how movies today have lost the art of the build-up. They just hit you over the head with mind-numbing action from frame one. Hollywood(and audiences of today) would do well to watch classics like "San Francisco", where story takes precedence over special effects and when the effects do come, they are in service to the story. And they mean so much more and have so much more impact when held back until the last possible moment. Why can't we allow ourselves to be immersed in the story? Or are we just too impatient for it now?
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