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Climaxing a long series of mysterious disappearances of young girls, dancer Thalia Arnold is found murdered. Police-detective Captain McVeigh believes that King Peterson, a nightclub operator and owner of the Crescent School of Fine Arts, knows something about the missing girls. Peterson's silent partner is Joseph Thompson, a theatrical agent, whose daughter, Nora, a reporter, is waging a newspaper crusade against the district attorney's office for failing to trace the girls, much to the discomfiture of James Horton, a young assistant district attorney. Pauline Randolph is the next to disappear but Nora had seen her leaving her grandmother's home in a car driven by a blonde woman. Nora interviews the grandmother who tells her that Pauline had theatrical employment, along with one of her friends, Mary Phillips. When the police begin investigating the Crescent talent-school, Thompson, who knew the Arnold girl intimately, quarrels with Peterson over the school, which, Thompson claims, ... Written by
Les Adams <firstname.lastname@example.org>
An assistant DA tries to track the whereabouts of missing girls, leading into a tangled web of corruption.
With that suggestive title and sleaze director Elmer Clifton, I was expecting maximum titillation. Well, there is some peek-a-boo at The Crescent School of Fine Art, where the half-clad dancers somehow manage to all be female. No doubt, if it weren't for the censors, the "school" would be called Gateway to Hookerland, but then this is a commercial product.
Not surprisingly, it is a cheap undertaking by quick-buck producers. Still, the cast is much better than the material, especially the sparkly Allwyn and the smoothly slick Van Zandt, who's especially impressive as an egotistical gangster. His sarcastic exchanges with DA Horton (Archer) may well be the film's dramatic highlight. These main players may not be exactly household names but they do lend edge to what could have been merely a listless payday. Impressive too is old-timer HB Warner who's about as relaxed before the camera as anyone I've seen. Still, it's a long way from Jesus in King of Kings (1927), a silent screen classic. I imagine he was added for marquee value. Then too, catch malt-shop Gale Storm in a small but appealing part.
Anyway, it's a rather complex plot so you may need to keep notes. Still, the large cast does about as well with the tacky material as can be expected, and is not without points of interest.
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