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Internes Can't Take Money (1937)

Approved | | Crime, Drama, Romance | 16 April 1937 (USA)
In his first film, young Dr. Kildare helps a female ex-con find her child.

Director:

Alfred Santell

Writers:

Rian James (screenplay), Theodore Reeves (screenplay) | 1 more credit »
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Cast

Complete credited cast:
Barbara Stanwyck ... Janet Haley
Joel McCrea ... James Kildare
Lloyd Nolan ... Hanlon
Stanley Ridges ... Innes
Lee Bowman ... Interne Weeks
Barry Macollum Barry Macollum ... Stooly Martin
Irving Bacon ... Jeff
Steve Pendleton ... Interne Jones (as Gaylord Pendleton)
Pierre Watkin ... Dr. Fearson
Charles Lane ... Grote
James Bush ... Haines
Nick Lukats Nick Lukats ... Interne
Anthony Nace ... Dr. Riley
Fay Holden ... Mother Teresa
Frank Bruno Frank Bruno ... Eddie
Edit

Storyline

In a fantastically art-deco hospital, young Dr. Kildare treats and falls for impoverished Janet Healy, widow of a bank robber, who's been in prison and can't find her baby. Later she helps Kildare sew up gangster Hanlon in a tavern back room. Kildare pursues Janet and enlists Hanlon to help her; the gangster's solution, not surprisingly, is violent. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

He risked his life to save a rat... And what did he get for it?

Genres:

Crime | Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

16 April 1937 (USA) See more »

Also Known As:

Assistenzarzt Dr. Kilder See more »

Company Credits

Production Co:

Paramount Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

First in the Dr. Kildare series. MGM continued the series and recast Lew Ayres as Dr. Kildare. See more »

Goofs

During the bar-room conversation (c.16 minutes) the coffee cup on the table disappears, re-appears and moves between shots. See more »

Quotes

Dan Innes: You'd like to kill me, wouldn't you?
Janet Haley: You're a mind reader.
See more »

Connections

Spoofed in Hare Tonic (1945) See more »

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User Reviews

 
B plot + A production = Dr. Kildare with atmosphere
19 July 2000 | by rfkeserSee all my reviews

An exceptionally flavorful rendering of the Depression atmosphere: a world of the poor laboring in sweatshop jobs, petty hoods hanging out in smoky bars, backroom bookie joints, pushcart vendors and bus terminals and orphanages. While the plot is no more ambitious than the typical B movie of the time, the high production values, name cast, and imaginative direction from Alfred Santell all boost the quality.

At the center of the plot, Barbara Stanwyck spends much of the film in desperation mode, exhausted from searching for her lost child, beaten down by two years in jail, forced to hire stool pigeons, forced to stay alert.

Joel McCrea makes the ideal American hero for the 30's: not only a doctor, but tall, blond, honest, sincere, manly, and progressive. At one point, he has to perform an operation on a bar room table, improvising with violin strings, an ice pick, and a bottle of rum! But this is not MGM's Dr. Kildare. He has no warm relationship with a kindly old mentor; instead, the chief doctor is an authority figure upholding the rules, dismissing Lee Bowman for unauthorized experimentation. The script also pumps up sympathy for interns as underpaid workers who get only $10 a month.

As a gangster, the always fascinating Stanley Ridges conveys the calm of a man secure in his power, whose eye movements size up his adversaries and whose silences reveal more menace than mere words. Watch the sexual innuendo he finds in his "I didn't always like popcorn" speech.

Santell uses extreme close-ups and moves the camera often, aided by gleaming lighting from Theodore Sparkuhl, plus some knock-out sets, including a sparkling white Art Deco clinic and an elaborately detailed New York Irish bar. Watch how economically Santell works to show the awakening of mutual attraction between Stanwyck and McCrea in their first scene together. Also lifting the picture out of its formula origins is the headlong pace Santell maintains to the climax, an urgency lost in the blander MGM series.


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