Navy Lt. Richard Perry becomes an undercover man out to discover the leaders of a group of well connected men who pull off bank robberies during the McKinley administration (early 20th ...
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Rita Wilson meets epidemiologist Chris Claybourne and they fall in love with each other. When Claybourne leaves for the tropics to find a cure against a disease, Wilson gets her revenge by ... See full summary »
W.S. Van Dyke
Extremely proud, Michael Martin made fashion model Carolyn quit her job, after their marriage. Carolyn quickly, quietly and secretly did get another job, when she realizes Michael cannot successfully make their financial ends meet, alone.
Navy Lt. Richard Perry becomes an undercover man out to discover the leaders of a group of well connected men who pull off bank robberies during the McKinley administration (early 20th century). Written by
Ed Stephan <email@example.com>
This film was made and released before Barbara Stanwyck and Robert Taylor were married. In the oversized, 22-page press book that the studio had prepared for the exhibitors, there were constant references to and blurb lines describing Stanwyck and Taylor as "real-life sweethearts" or "real-life heart interests", etc., stills captions particularly, typical 1930s selling points to be used in the advertising. However, somewhere between the planning and the execution, something went amiss, and the pressbook had an 8x10 snipe pasted on page three with specific instructions: Dated May 26, 1937, and addressed to Exhibitors as IMPORTANT NOTICE. It read: "Delete the phrase "real-life sweethearts" and any similar phase, or any stunts or copy along the same line from all advertising or publicity on THIS IS MY AFFAIR. In utilizing any of the press book materials you will please correct the copy, eliminating the words "real-life sweethearts." Please note that this applies to everything in the press book, publicity copy, ads, exploitation, stunts, etc. Your cooperation will be appreciated." (signed) Charles E. McCarthy-Advertising Manager See more »
The opening credits list the names in picture frames with subtle tree silhouettes in the background. See more »
A bland title disguises this solidly-carpentered example of old-fashioned Hollywood entertainment, this film proves a largely successful hodgepodge of several disparate elements: a period piece, a romantic drama, a crime movie and a political thriller. Interestingly, though made by Fox, its protagonists Robert Taylor and Barbara Stanwyck were both usually associated with other studios; their on screen chemistry here is palpable and eventually led to marriage in a couple of years' time. While a bit too young, Taylor is a dashing hero (a Marine personally appointed by President McKinley to uncover the culprits behind an organized clean-up of numerous banks); unsurprisingly, no sooner has he tracked them down (led by smooth Brian Donlevy and thuggish Victor McLaglen) that he falls for a chanteuse (naturally, Stanwyck) who has thrown her lot with the gang although, truth be told, singing is far from being the actress' forte! Similarly, apart from having to prove his worth to make it into their fold, he has to vie with McLaglen for Stanwyck's attentions; by the way, the practical joker persona of the former reminded me a lot of Charley Chase in SONS OF THE DESERT (1933) which, incidentally, was likewise directed by William A. Seiter. Later on, Taylor is in two minds about involving Stanwyck in the impending bait and tries to offer his resignation to the President while eloping with the girl but the jealous rival disrupts his plans. The robbery gone awry, we find Donlevy dead and the other two in jail; Taylor's hopes for McKinley's intervention having meanwhile learned the identity of the elusive and obviously prominent 'inside man' are seemingly dashed when the President winds up assassinated himself (a great plot twist, though the resulting eleventh-hour suspense feels contrived)! To get back to the film's jumble of styles, even if the vaudeville sequences are a matter of taste, the romantic triangle slows things up and it skimps somewhat on the thriller aspect, this emerges a handsome production indeed with the actors already mentioned ably supported by the likes of John Carradine (who unaccountably disappears after just one scene!), Douglas Fowley, Sig Rumann and, as two American Presidents, Sidney Blackmer (the bubbly Theodore Roosevelt) and Frank Conroy (McKinley).
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