After leaving M-G-M, after a really sensational quarrel with Louis B. Mayor, director Charles Vidor was out of work for a few months before he found a niche at Monogram where he was hired to direct the aptly titled Sensation Hunters (1933).
Actually, the title has nothing to do with the story and was obviously added to a script that was lying around in the studio, just waiting for some director game enough to take it under his wing.
This story centers on a girl (Arline Judge) who is a member of a group of entertainers in a Panama café. Parted by one of those contrived misunderstandings from the man she loves (Preston Foster), she is befriended by another man (Kenneth McKenna).
It is almost needless to say, however, that belated happiness and reunion comes with the return of her original lover after the usual quota of trials and tribulations.
Seizing this chance with considerable vigor, Charles Vidor has directed this rather sudsy material with far greater artistry than it warranted, - especially in the final sequence where he makes commendable use of the mirror motif.
Actually, the title has nothing to do with the story and was obviously added to a script that was lying around in the studio, just waiting for some director game enough to take it under his wing.
This story centers on a girl (Arline Judge) who is a member of a group of entertainers in a Panama café. Parted by one of those contrived misunderstandings from the man she loves (Preston Foster), she is befriended by another man (Kenneth McKenna).
It is almost needless to say, however, that belated happiness and reunion comes with the return of her original lover after the usual quota of trials and tribulations.
Seizing this chance with considerable vigor, Charles Vidor has directed this rather sudsy material with far greater artistry than it warranted, - especially in the final sequence where he makes commendable use of the mirror motif.