Mary Rutledge arrives from the east, finds her fiance dead, and goes to work at the roulette wheel of Louis Charnalis' Bella Donna, a rowdy gambling house in San Francisco in the 1850s. She...
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Mary Rutledge arrives from the east, finds her fiance dead, and goes to work at the roulette wheel of Louis Charnalis' Bella Donna, a rowdy gambling house in San Francisco in the 1850s. She falls in love with miner Carmichael and takes his gold dust at the wheel. She goes after him, Louis goes after her with intent to harm Carmichael.Written by
Ed Stephan <email@example.com>
There were constant struggles between Miriam Hopkins and Edward G. Robinson during the shooting of the movie. She constantly changed her lines and tried to upstage and unsettle Robinson's performance. After two weeks they had to shoot a scene where Robinson had to slap his co-star. He did just that, but put such force in it that she fell to the ground. After a pause the crew began to cheer, fed up as they were with Hopkins' antics. See more »
Given the array of talent assembled for this project, the result disappointed me. The script is funny and very smart, but Robinson's portrayal of an 1850s casino boss in San Francisco comes off poorly to me, especially as he basically struts and does the same act as his 20s gangster thing, but wearing puffy flamenco shirts. Hopkins is good, and very charming, in her role, which is the center of the film's plot and heart. McCrea is given a fairly one-dimensional lead. Seems to have been some confusion over what kind of film they were trying to make over at Goldwyn studios.
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