Navy Lt. Richard Perry becomes an undercover man out to discover the leaders of a group of well connected men who pull off bank robberies during the McKinley administration (early 20th ... See full summary »
William A. Seiter
Men pay a dime to dance with Barbara and her fellow taxi dancers. She marries Eddie and quits dancing, but before that, she meets with the handsome and very rich Bradley. Barbara eventually starts dancing again, since her marriage is plagued by financial tension, and Bradley begins visiting her again. Eddie becomes jealous, accusing his wife of infidelity. He sees that alleged infidelity as an excuse to steal money from Bradley.Written by
Ulf Kjell Gür
There haven't been many films inspired by a popular song (but there have been others; Bobbie Gentry's 'Ode to Billy Joe' became a film in 1976), and the title of Lionel Barrymore's last film as director had led me to expect another musical; it then starts out seeming to promise a hard-boiled drama set amid the speakeasies. But after the obligatory opening sequence with the camera swooping around the dance hall where Barbara Stanwyck works, Barrymore settles down to instead deliver a weepie in which Alpha Plus female Barbara Stanwyck becomes inexplicably enamoured of Gamma Minus male Monroe Owsley to the extent of marrying him.
Scriptwriter Jo Swerling doesn't give Owsley a single redeeming feature, leaving you torn between wanting to give him a smack for being such an unappreciative pig and her for not giving him that smack herself. Alpha male fairy godfather Ricardo Cortez is frankly far too good be true, his actions implausibly honourable at all times; and Stanwyck is such a doormat I'm sure he was capable of better (ironically she was at the time herself married to one of the most detested men in show business, Frank Fay). But I guess by the end she'd earned a break.
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