Because of his hot, often-flaring temper, Jimmy Kelly loses another job, much to the disappointment of his mother and the disgust of his fiancée, Margie. Margie is a secretary for lawyer L....
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Because of his hot, often-flaring temper, Jimmy Kelly loses another job, much to the disappointment of his mother and the disgust of his fiancée, Margie. Margie is a secretary for lawyer L. Herbert Oakley, who advises Jimmy to study law, but that doesn't last long. His friend, Sammy Cohen gets him a job with him as a process server. He serves a summons on a night club dancer, Carmencita, who says she owes a bill because she had a fight with her sweetheart - one L. Herbert Oakley. The district attorney delegates Jimmy and Sammy to serve subpoenas on a "Trixie Belle," who turns out to be a formidable gangster, plus one on a mysterious "Mr.7". Trixie holds Jimmy a prisoner in an apartment, but gets drunk and reveals that Oakley is Mr. 7, the leader of an oil-swindle operation. Sammy helps Jimmy escape and they learn that Oakley is about to leave for Montreal, and is taking Margiue with him. Jimmy rescues Margie and serves the summons on Oakley. Just before he and Margie are to be married... Written by
Les Adams <firstname.lastname@example.org>
This rather dull Monogram programmer is a remake of a picture from the early 1930s. Despite some interesting antecedents -- including being based on a story by Dore Schary -- it rarely shows much in the way of flair, with the exception of the scenes with Armida, who looks interested in being the new Lupe Velez. But the photography is workaday, the acting rarely more than adequate and the jokes are too low-key to be worth much. Even Luis Alberni can't put much into a rather straightforward performance made between gigs with Preston Sturges. Maxie Rosenbloom is amusing, but he is on for just a couple of minutes.
Most of this can be laid at the feet of director William Beaudine, a veteran of the silent days who worked for another three decades. His nickname was 'One-Shot' and, so long as there was film in the camera and the lens cap off, he rarely bothered with a second take; and of Eddie Quillan, the lead, who was often good playing small comedy bits, but seems to have taken this rare lead too seriously.
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