With a full Hollywood background and settings but more an expose of scandal-and-gossip magazines of the era, has-been actor John Blakeford agrees to write his memoirs for magazine-publisher...
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Timid milkman, Burleigh Sullivan (Lloyd), somehow knocks out a boxing champ in a brawl. The fighter's manager decides to build up the milkman's reputation in a series of fixed fights and ... See full summary »
Twenty years after his triumphs as a freshman on the football field, Harold is a mild-mannered clerk who dreams about marrying the girl at the desk down the aisle. But losing his job ... See full summary »
Egyptologist, Dean Lambert (Lloyd), accused of car-theft, skips bail and begins a cross-country trek to join a group in New York headed for Egypt. With the police close on his trail he gets... See full summary »
With a full Hollywood background and settings but more an expose of scandal-and-gossip magazines of the era, has-been actor John Blakeford agrees to write his memoirs for magazine-publisher Jordan Winston. When Blakeford's daughter, Patricia, ask him to desist for the sake of his ex-wife, Carlotta Blakeford, he attempts to break his contract with Winston.Written by
Les Adams <firstname.lastname@example.org>
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
Florey's original cut ran 83 minutes, which I'll agree was too long to hold audience interest in a central story that, although strongly plotted, was weighed down with an inconsequential subsidiary romance featuring an overly verbose and mindlessly self-centered young hero. The shears were desperately needed, but instead of taking them to the youthful egotist, the main story was trimmed instead, throwing the whole movie way off balance. This was bad enough. But worse still was the fact that the repulsive know-it-all who delivers every single line of his wearisome dialogue with such over-the-top enthusiasm, was enacted by the overbearing Robert Cummings, whose non-stop self-adulation even manages to shade his beautiful co-star, Marsha Hunt. Florey's direction was slack in this respect, but fortunately, John Halliday and a fascinating line-up of support players, including Frieda Inescort, Maurice Costello and Gary Cooper, do their utmost to re-focus audience attention. They are helped immeasurably by the superb cinematography of Karl Struss. The Hollywood street scenes and other location cameos like the series introducing Marsha Hunt holding flowers are often breath-taking.
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