An altruistic department-store owner hires ex-convicts in order to give them a second chance at life. Unfortunately, one of the convicts he hires recruits two of his fellow ex-convicts in a plan to rob the store.
Mae Doyle comes back to her hometown a cynical woman. Her brother Joe fears that his love, fish cannery worker Peggy, may wind up like Mae. Mae marries Jerry and has a baby; she is happy but restless, drawn to Jerry's friend Earl.
A fire in a run-down tenement building injures young Joey Rogers. Wealthy passerby Peter Cortlant rushes the boy and his attractive older sister Mary to the hospital and pays the medical ... See full summary »
Mr. Morris, the owner of a large metropolitan department store, gives jobs to paroled ex-convicts in an effort to help them reform and go straight. Among his 'employed-prison-graduates' are Helen Roberts and Joe Dennis, working as sales clerks. Joe is in love with Helen and asks her to marry him, but she is forbidden to marry as she is still on parole, but she says yes and they are married. In spite of their poverty-level life, their marriage is a happy one until Joe discovers she has lied about her past, in order to marry him. Disillusioned, he leaves, goes back to his old gang and plans to rob the department store. Written by
Les Adams <email@example.com>
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
If you've ever studied film history, you probably know that 1940s Hollywood Noir was influenced by the influx of German directors who immigrated to the US as the Nazis rose to power. These directors brought some stylistic aspects of Wiemar cinema to post-war Noir. What's less well know is that in the 1930s and war years, before the stylistic and political chill of the red scare, already on the rise in the late '40s, the German directors, such as Fritz Lang, were using their Brechtian style- openly political and meta-textual- in much more brazen and less-watered down ways than they were in the post-war Noir years. (Lang would later direct "Hangmen Also Die"- one of the few Hollywood scripts Brecht ever wrote.) "You and Me" is a largely forgotten example of the films of this era. The film is fascinating and entertaining, although perhaps too idiosyncratic to be called "good." For its first two thirds its a genuinely touching and psychologically acute love story between two ex-cons struggling to get by. It would constitute a solid, conventional drama if it were not fragmented by nightmarish musical numbers lecturing the audience that, for instance, its a bad idea to try to break out of prison on your own. Most bizarrely, the last third changes tone completely and becomes a bona-fide screwball comedy revolving around a chalk board lesson mathematically demonstrating why crime, literally, doesn't pay. Although Brecht's influence is felt in almost every scene the politics of the film are in no way radical- as some Hollywood films of the era were in underlining ways. This piece, rather, is merely cynical about American capitalism, without actually questioning it.
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