Associate producer: Edward F. Cline. Producer: A.M. Botsford. Copyright 25 September 1936 by Paramount Pictures, Inc. New York opening at the Rialto: 20 November 1936. 7 reels. 69 minutes.
SYNOPSIS: A gangster beats a murder rap, only to be gunned down by either a mystery woman or possibly a reporter.
COMMENT: A typical Paramount "B" in that most of the action (and exhilaratingly fast-paced action it is too) is saved for the final reel. Elsewhere, we have to make do with a rather talky screenplay enlivened by a few wisecracks from somewhat dull hero Lew Ayres (assisted by the delightful Joyce Compton) yet weighed down by the dead hand of Frank Sheridan as a continuously ranting-to-little-effect police chief.
Onslow Stevens delivers an effective study of a personable yet ruthless gangster and it's good to see Ernest Cossart making hay in an unusual role as his attorney. Cult favorite Gail Patrick is in there pitching too.
Director Barton makes the most of a conspicuously uneven script which often descends into static chatter as soon as the story gains interest. These dull passages enable even less astute audiences to detect a few gaping holes in the plot. Still, the grand chase climax and revelation make up for most of the inertia. Best acting? I'd pick Joe Sawyer over Paul Kelly any day. Admittedly, despite his smallish role, Joe has the sharper lines.
SYNOPSIS: A gangster beats a murder rap, only to be gunned down by either a mystery woman or possibly a reporter.
COMMENT: A typical Paramount "B" in that most of the action (and exhilaratingly fast-paced action it is too) is saved for the final reel. Elsewhere, we have to make do with a rather talky screenplay enlivened by a few wisecracks from somewhat dull hero Lew Ayres (assisted by the delightful Joyce Compton) yet weighed down by the dead hand of Frank Sheridan as a continuously ranting-to-little-effect police chief.
Onslow Stevens delivers an effective study of a personable yet ruthless gangster and it's good to see Ernest Cossart making hay in an unusual role as his attorney. Cult favorite Gail Patrick is in there pitching too.
Director Barton makes the most of a conspicuously uneven script which often descends into static chatter as soon as the story gains interest. These dull passages enable even less astute audiences to detect a few gaping holes in the plot. Still, the grand chase climax and revelation make up for most of the inertia. Best acting? I'd pick Joe Sawyer over Paul Kelly any day. Admittedly, despite his smallish role, Joe has the sharper lines.