Mary, a writer working on a novel about a love triangle, is attracted to her publisher. Her suitor Jimmy is determined to break them up; he introduces Mary to the publisher's wife without ... See full summary »
An honest and naive schoolteacher gets a lesson in how the world works outside the classroom, when a rich Baron and his mistress use the teacher's name and outstanding reputation in a ... See full summary »
Racketeer Tony Gazotti is thankful that lawyer Jackson Durant helps him beat a murder rap, but Durant just does it for the thrill of it and refuses payment. Durant's defense of mobsters causes his firm to disown him and his girlfriend Sue to leave him. But when young Tom Siddall, Sue's new boyfriend, is framed for a murder, she is the first to come asking for Durant's help. Durant uses Gazotti's information network and the help of new girlfriend Gertie Waxted to find that rival gangster Jim Crelliman is involved in the framing of Siddall. When Durant sends Gertie to Crelliman's apartment in a bid to blow open the case, she is walking on thin ice.Written by
Gary Jackson <email@example.com>
The film opens with the actual May, 1933 cover of Cosmopolitan magazine - the issue in which Arthur Somers Roche's story appeared. The film went into production in August and was released in September that same year. This film is a tremendous example of how quickly a Hollywood studio could work back then. At the time, Cosmopolitan was a literary periodical, first published in 1886, and didn't become a "womans" magazine until the mid-1960's. See more »
When Gertie stands looking out Durant's apartment window, her left arm is up with her hand on her head but, when the shot changes to see her from the front, her arm is down and her hand is resting against the window frame. See more »
Holy mackerel! You come in here and tell me that it's all over and expect me to break out laughing, I suppose.
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The title card for "Penthouse" announces that the film is presented by "Metro-Golwyn-Mayer". See more »
There is lots of entertainment value in this picture - quality acting, sharp dialog, quick pace - but those who are looking for a story based in realistic circumstances may be disappointed. Despite there being a goodly number of unsavory types among the characters, just about everyone comes across as clean-cut, friendly, ready with a smile, and not the least bit threatening. This takes the sharp edge off a picture with lots of promise in its early development. Nat Pendleton plays a crime boss as if he hasn't a care in the world, more than ready to use his resources to make others happy. The Myrna Loy character is appealing (much as her Nora Charles was), but defies explication: charming, intelligent, well-mannered and well-spoken, but content to serve the paying customers as a hostess/bar girl/prostitute. It just doesn't add up. Mae Clark, as a less refined colleague, is much more believable.
[Don't fail to notice the latter, in a fit of anger, ready to throw a perfume bottle against the wall, then noticing the label and substituting a lesser brand; or Loy, keeping her composure as Warner Baxter chooses not to remain in her assigned room for the night, then immediately surveying her looks - right profile, left profile, hair, makeup - in a mirror, wondering if something has been lost.]
The picture needs more grit, given its subject matter. Comic relief from Charles Butterworth and Tom Kennedy are just what it doesn't need.
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