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Molly and her troupe of dancing girls and "entertainers", sent for by saloon owner "Sometime" Smith, arrive in a Klondike mining town by train. Smith is out of town and rival saloon owner Jefferson Braddock signs the girls up to work in his saloon. Also arriving is Katherine (Kate) O'Day, with a deed of ownership, willed her by her father, to Braddock's saloon. She hires attorney and self-appointed Judge Horace Crawford to handle her ownership claim, but she soon sees that the deck has been stacked against her when Crawford works the trial as the judge and also the lawyer for both sides. She takes a job as singer in the saloon, replacing Lita both as star and Braddock's "favorite." Lita helps Smith win a crooked-and-staged game of "High Card" giving Smith ownership of Braddock's saloon. But Smith double-crosses her and she shoots him somewhat dead, and Braddock is accused of the killing, and is about to be lynched. Written by
Les Adams <firstname.lastname@example.org>
Would you acknowledge her deed as owner of a Klondike Bar? That's pretty much the plot here as "Detour's" Ann Savage arrives way up north from San Francisco with proof that she was left the very popular saloon where Glenda Farrell and her girls have showed up as performers. They were initially hired by the rather shady Sheldon Leonard to work in his saloon but ending up working for Tom Neal who refuses to acknowledge Savage's claim. Her presence incurs the wrath of the saloon's established solo singer, Constance Worth, who is in cahoots with Leonard to take over the establishment himself. A card game between Leonard and Neal leaves the future of the establishment in doubt, and when murder in the Klondike occurs, it's up to Savage and Neal (who have obviously gone past the stage of rivals to become lovers) to prove his innocence.
An acceptable semi-musical adventure, this is very remnant of both "Belle of the Yukon" and "The Harvey Girls", even though it came out first. It lacks the camp quality of director William Castle's later horror films but is certainly a curio considering its leading stars who only two years later would create screen history as very different partners in the film noir cult classic "Detour". Glenda Farrell gets in a few good bitchy lines, while George Cleveland is amusing as the attorney whom Savage hires to represent her and ironically ends up as a the judge in the case. What keeps this from being just average is the fact that its story abruptly ends without wrapping up the identity of the killer. The audience knows, but the writers don't allow the characters involved know, and that leads to a total let-down.
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