Frisco Jenny was orphaned by the 1906 earthquake and fire and has become the madame of a prosperous bawdy house. She puts her son up for adoption and he rises to prominence as district ... See full summary »
William A. Wellman
Helen Jerome Eddy
After accidentally killing the man who raped her and forced her into prostitution, a New Orleans woman flees to a Caribbean island. While she awaits her fiancé, the vicious local police chief sets his sights on her.
William A. Wellman
Railroad fireman Bill White is a carefree ladies' man with an irresponsible streak. His buddy Jack Kulper, an engineer, is more solid and reliable. Bill comes to stay a while with Jack and his wife Lily. Bill and Lily fall in love, but not wishing to hurt Jack, Bill leaves without explanation. When Jack confronts Bill about his suspicions, the two fight and Jack is seriously injured. Bill is consumed with guilt and tries to make good, but Jack has his own ideas about that.Written by
Jim Beaver <email@example.com>
Although the title card bears a 1930 copyright statement, this film was apparently never copyrighted, under either of its two titles. It was completed in mid-1930, and reviewed in Motion Picture Herald 4 October 1930, and in Photoplay Magazine in December 1930, but did not open in New York City until April 1931. See more »
When Jack is sitting at the dinner table after Bill has left the house, Jack's hair changes noticeably between shots - from fuller to more slicked down and back. See more »
[Slapping the more-than-ample derriere of the waitress while her back is turned]
How are you, Davenport?
You stop callin' me that! Honest to goodness, you're gettin' something fierce!
Hog wild, Baby, and no foolin'. Scramble three and a cup of jamocha.
[Yelling to the cook offscreen]
Scramble three in a hurry - it's Bill White!
Bread or toast or maybe you'd like a bun?
[Implying a double entendre]
No, had one last night.
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If it's not the plot, the locales, the characters, the old acting style, the old manner of speaking, the manners of the era, the "clean" way of thinking, the gritty realism and authentic feel of location shooting inside or outside or sometimes even the costumes...something always captivates me about the talkies of 30's and late 20's.
There may not be prodigious film-making here but two scenes will remain engraved in my memory:
1- The blind man struggling alone in the rain in the railway yard. One particular close-up was intriguing. There was no intense melodrama here, just a man in turmoil. Wonderfully done.
2- Bill's encounter at the end with an old "friend". As Bill realizes that this old friend may offer him some hope he runs out and boards a moving train. He proceeds to get on the roof to release his romantic glee by running down the entire length of the train from caboose to the engine car. His boyish joy made me smile.
Ah, that bygone era of innocence. With all of the misery that happened then, these were some of the charming highlights that linger on.
We are the richer for the preservation of every film from that era. Each contributes another chapter in the art of film and of the heart of man's growth.
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