When Prohibition ends, the mobsters move into the "protection" racket. Those who do not pay are knocked off. Small town reporter Ruth wants a job at the big city paper, but the editor will ... See full summary »
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When Prohibition ends, the mobsters move into the "protection" racket. Those who do not pay are knocked off. Small town reporter Ruth wants a job at the big city paper, but the editor will not hire her. So she looks for a story and sees the murder of Liquor Board Commissioner Eldridge. After she gets the job, she gets the picture of the killer who knocks off Murty, the driver who knocked over Eldridge. Ruth is in the thick of the investigation and one step ahead of Casey. Written by
Tony Fontana <firstname.lastname@example.org>
MGM has Florence Rice try to crack the newspaper racket while racketeers are trying to regain control of the liquor industry. Unfortunately MGM uses Stu Erwin as one of the leads and I have never enjoyed his low-key aw-shucks delivery, Basically the story is too scattergun for MGM. The trio is completed with Paul Kelly as their women-hating editor who keeps flirting with Florence and wrangling with ex-wife Margaret Irving. Or possibly it's director Errol Taggert, newly graduated from from the ranks of assistant directors and who never got out of MGM's short subjects and lesser features.
Oliver Marsh' high-key photography -- the house standard at MGM -- doesn't add much to the proceedings. In the end, though, most of the blame is due to Michal Fessier's script. His dialog is ill-humored. As Dorothy Parker once noted, "Wit has truth in it; wisecracking is simply calisthenics with words." this movie is only calisthenics.
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