A brilliant but impoverished writer, who is a pacifist, goes to work for a publisher and writes anti-war editorials. When he discovers that the publisher has betrayed him and is in league ...
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Marsha Mitchell, a traveling dress model, stops in a southern town to see her sister who has married a Ku Klux Klansman. Marsha sees the KKK commit a murder and helps District Attorney Burt Rainey in bringing the criminals to justice.
After a drunken binge on the San Pablo waterfront, longshoreman Bobo fears he may have killed a man. In his uncertainty, he takes a job on an isolated bait barge. That night, he rescues ... See full summary »
A woman is found murdered in a house along the coast from Brighton. Local detectives Fellows and Wilks lead an investigation methodically following up leads and clues mostly in Brighton and... See full summary »
A brilliant but impoverished writer, who is a pacifist, goes to work for a publisher and writes anti-war editorials. When he discovers that the publisher has betrayed him and is in league with munitions manufacturers to make money off of war, he goes insane.Written by
The few people likely to be familiar with this title today will probably already know enough of the plot to be aware of the spectacular final retribution taken by Claude Rains against Lionel Atwill and assume that it was a follow up to Rains' auspicious talkie film debut the year before as Universal's new horror star in the title role of 'The Invisible Man'.
However, Rains had already played the role on Broadway - under that title - the year before he made 'The Invisible Man', and the film is actually a very thirties pacifist diatribe (albeit garnished with an eye-catching title and plot gimmick) set in France just before and during the first year of The Great War.
No attempt seems to have been made to dress the cast convincingly in period, probably to heighten its topicality to the troubled 30's, when fear of lethal new weapons ran hand in hand with munitions manufacturers in wing collars rubbing their hands with ill-concealed glee at the prospect of the vast fortunes to be made out of another war.
Director Edward Ludwig's only other brush with political filmmaking ironically appears to have been John Wayne's red-baiting love letter to the HUAC, 'Big Jim McLain', nearly twenty years later.
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