Career-slipping movie star Carole Raymond (Kay Francis) buys in as a real estate partner of Jeff Caldwell (Paul Cavanagh). Actually, through his secretary, Nola Reed (Veda Ann Borg), ... See full summary »
After many years, MacKenzie Scott is pardoned from prison, but his wife is already involved with another man. Nevertheless, he travels incognito to his family's town. There he befriends his... See full summary »
Carrie, ambitious young actress and her manager Mike Kilinsky, travel east from Chicago to Long Island so Carrie can see the new mansion that her mother Chris has just purchased. Chris is ... See full summary »
Nicole Picot is working as a model in a Paris dress salon when she is picked by Stefan Orloff to help him convince a wealthy investor that he is well connected. She is to wear an expensive ... See full summary »
Fourteen-year-old Tessa is hopelessly in love with handsome composer Lewis Dodd, a family friend. Lewis adores Tessa, but has never shown any romantic feelings toward her. When Tessa's ... See full summary »
Scandal Sheet is a 1931 American crime film directed by John Cromwell and written by Oliver H.P. Garrett, Vincent Lawrence and Max Marcin. The film stars George Bancroft, Kay Francis, Clive... See full summary »
Tough, Hard-Boiled "Social" Crime Drama from Low-Rent Monogram Pictures. This is one of Their Betters. Starring on the Skids, but not quite on Skid-Row, Kay Francis and the Always Reliable Paul Kelly with some, had been a Star, but not quite a Has-Been Support, from Otto Kruger as what else, a Snakey, but in the End more than just a Bad Guy.
It has its Moments of Violence, Melodrama, and Social Commentary and is a Rather Engaging piece of Noirish Business. That of Unscrupulous Women Marrying Military Types by the Handful for not Love but Money. The Head of this 'Syndicate" is a Woman Herself (Miss Francis) who has a Daughter that Figures in quite Heavily in this Heavy Handedness.
There are some Memorable Scenes in Bedrooms, Staircases, and Prison Cells that would seem to Fit Easily into Film-Noir, but its Flat and Less than Creative Style, mostly Overlit and Pedestrian, that keeps this one Barely Eligible, but does manage in the End to have Enough of what it Takes to be a Contender.
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