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Night Life in Reno (1931)

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A story of love, humor and drama against the background of America's "Biggest Little City." An (interrupted) indiscretion by John Wyatt with a floozy prompts his wife, June, to make a trip ... See full summary »



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Title: Night Life in Reno (1931)

Night Life in Reno (1931) on IMDb 4.9/10

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Cast overview:
June Wyatt
Jameson Thomas ...
John Wyatt
Dorothy Christy ...
Gwen Maynard
Arthur Housman ...
Roy Carlton
Dixie Lee ...
Dorothy Pierce
Clarence Wilson ...
Adrian Garrett
Rita Carlton
Pat O'Malley ...
District Attorney


A story of love, humor and drama against the background of America's "Biggest Little City." An (interrupted) indiscretion by John Wyatt with a floozy prompts his wife, June, to make a trip to Reno, Nevada in order to get a quickie six-week-waiting-period divorce. John, penitent over his past actions (since he got caught), follows his wife to Reno and manages a reconciliation after a murder gives him a chance to prove his true devotion. Written by Les Adams <>

Plot Summary | Add Synopsis


Crime | Drama | Romance





Release Date:

2 November 1931 (USA)  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs



Sound Mix:

(RCA Photophone)

Aspect Ratio:

1.20 : 1
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Did You Know?


Final film of Virginia Valli. See more »

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User Reviews

Great To See Dixie Lee, But Where's the Crime?
28 July 2008 | by See all my reviews

Actually both the crime and mystery angles in this so-named "Crime Classic" are slight. While there is a murder in the story, it occurs very late in the piece. The movie's best moments all happen in the first ten minutes or so, when the lovely Dixie Lee makes her spectacular entrance—although what potential she sees in dull-as-a-doormat Jameson Thomas is open to question. The rest of the movie revolves around a lot of ho-hum footage in which that perennial movie drunk, Arthur Housman, performs his funny-as-watching-ice-melt inebriated act to such wearisome length, it comes as something of a relief when he's suddenly removed from the plot by an unrecognizable, overly face-painted Carmelita Geraghty. Not unexpectedly, director Raymond Cannon handles the bulk of this largely boring, marking-time script with competence but little inspiration. But surprisingly for a Poverty Row effort, production values look quite smart and feature well-dressed studio interiors, peopled with lots of good-looking extras and bit-players.

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