The Millionaire Kid (1936) Poster

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4/10
Poor Dialogue Direction Hobbles An Okay Story
boblipton21 March 2019
Betty Compson and Creighton Hale are getting a divorce, and they're fighting over the custody of Bradley Metcalfe. He doesn't like the fighting, and he doesn't like being cooped up, so he runs away, into the arms of Lois Wilde and her gangster father, Bryant Washburn. They're pretty good when they discover the actual situation, but some of their gang think holding the boy for ransom is easy money.

It's a pretty good story, but the dialogue direction by director Bernard B. Ray is awful. Only Miss Compson manages a consistent performance, and Bryant Washburn is believable about half the time. Everyone else sounds stilted and artificial.

Silent movie fans may be pleased to see Al St. John in a brief role and a nice, natural gag. Joseph Swickard also shows up early as a stuffy tutor.
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7/10
One of Mr. Ray's best films
JohnHowardReid9 November 2013
Warning: Spoilers
By the humble standards of producer/director Bernard B. Ray, this is a remarkable achievement. In the first place, all the shots match. There's not one bizarre cut in the entire movie. For this film, no doubt conscientious film editor Fred Bain actually sat on the studio set and the real location set-ups (of which there are quite a few) and gave advice on camera coverage. It was also good to see silent star Betty Compson in the lead role (at least on paper). Young Bradley Metcalfe as Tommy Neville hands out a very convincing performance as the rebellious kid in question and receives excellent support from all the adult players except Creighton Hale who brings little in the way of life and nothing in the way of love or sincerity to the role of the boy's dad. Fortunately, his role is small. (And no wonder the kid ran away from home!) The beautiful second femme lead, Lois Wilde, had an up-and-down career, but she comes across most effectively here in what is maybe only her second movie. And while we're talking about actors and acting, it's a nice surprise to see George Chesebro in an uncredited appearance as one of the Terry Malone (Bryant Washburn) henchmen in which he displays a surprising warmth and even charisma. The story, of course, depends largely on unlikely coincidences, but it's put across with enough pace and style to disguise that fact for second feature audiences. Available on an excellent Grapevine DVD.
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