IMDb-BEWERTUNG
6,8/10
1419
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuA lawyer's fiancée leaves him after he defends a racketeer accused of murder, but she needs his help when her new beau is accused of killing an old flame.A lawyer's fiancée leaves him after he defends a racketeer accused of murder, but she needs his help when her new beau is accused of killing an old flame.A lawyer's fiancée leaves him after he defends a racketeer accused of murder, but she needs his help when her new beau is accused of killing an old flame.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 2 wins total
William Bailey
- Maitre D' - Pinnacle Club
- (Nicht genannt)
Ed Brady
- Man at Crelliman's Place
- (Nicht genannt)
Lynton Brent
- Reporter
- (Nicht genannt)
Theresa Harris
- Lili - Mimi's Maid
- (Nicht genannt)
Edward Hearn
- Detective
- (Nicht genannt)
Samuel S. Hinds
- Stuyvesant - Durant's Law Partner
- (Nicht genannt)
Empfohlene Bewertungen
"Penthouse" is a first-rate example of "they don't make 'em like that anymore." The tale of a society lawyer turned criminal defense attorney -- out to prove the innocence of the accused murderer who waltzed off with his fiancée -- zips along. The dialog of the fabled Hackett-Goodrich team is sassy and clever. The relationship between lawyer Warner Baxter and Nat Pendleton as the racketeer who's his guardian angel perks up the plot. But it's Myrna Loy as the call girl who joins forces with Baxter to nail the real killer who shines. There are certain people the camera finds irresistible. And here, as the most lovable fallen woman of the pre-code era, Loy demonstrates the impish allure that would light up the screen for years to come.
An honest lawyer (Warner Baxter) is in a jam. A friend of his ex (Phillips Holmes) was been wrongfully accused of murder...but nobody will trust him or confide in him because of his reputation. But a friend (Myrna Loy) of the murdered girl agrees to help him. There's a lot more twists and turns in this movie but you should see it to find them out.
The movie movie moves like lightning, has a sharp, snappy script and a cast of actors giving it their all. There's also pretty frank sexual innuendo between Baxter and Loy (I'm assuming this was a pre-Code film). Well worth seeing.
For some reason this is a forgotten movie. It's a shame because this is really a great little picture. Maybe the lack of stars (except for Loy) keeps this off the radar. This is well worth rediscovering.
The movie movie moves like lightning, has a sharp, snappy script and a cast of actors giving it their all. There's also pretty frank sexual innuendo between Baxter and Loy (I'm assuming this was a pre-Code film). Well worth seeing.
For some reason this is a forgotten movie. It's a shame because this is really a great little picture. Maybe the lack of stars (except for Loy) keeps this off the radar. This is well worth rediscovering.
Quite decent crime mystery starring Warner Baxter as Jack Durant, a society lawyer who gets dumped by his law firm as well as his snooty girlfriend who doesn't want to marry a "gangster lawyer" (as she calls him) because he likes to defend criminal types such as gangsters, racketeers, bootleggers, and the like (doesn't fit in with her tennis, yacht dances, and lawn party lifestyle, I guess). Anyway, this gal immediately becomes engaged to a young "Park Avenue" man who soon gets arrested for murder - and Durant sets out to prove this young man was framed, along with the help of a gangster pal named Tony and Durant's newest female interest, a woman (played by Myrna Loy) who was best friends with the "night club hostess" who was murdered.
This is an entertaining film with engaging story that held my interest. The story is somewhat predictable, but very interesting to watch with well done performances by all. I enjoyed Myrna Loy in this (though she is resigned to wearing the same big-front-bowed evening gown just about the entire film). Warner Baxter is handsome and smooth here - there is some amusing bedroom talk between him and Loy where she seems to want to spend the night with him, he wants to hold back and play the "gentleman". Nat Pendleton is fun here as Tony, the gangster with a good sense of humor. Quite good.
This is an entertaining film with engaging story that held my interest. The story is somewhat predictable, but very interesting to watch with well done performances by all. I enjoyed Myrna Loy in this (though she is resigned to wearing the same big-front-bowed evening gown just about the entire film). Warner Baxter is handsome and smooth here - there is some amusing bedroom talk between him and Loy where she seems to want to spend the night with him, he wants to hold back and play the "gentleman". Nat Pendleton is fun here as Tony, the gangster with a good sense of humor. Quite good.
Chic, stylish gangster romantic fun - MGM style. As you'd expect from this writing-directing team, you get likeable heroes, villainous villains, damsels in distress, femme fatales - in fact every familiar stereotype you could possibly want all expertly blended together then hurled at your face like a grapefruit.
For an early thirties picture, the cast is unusually large with an unusually multi-layered story. Despite this, because of its skilful and focused writing, the story is told with beautiful simplicity. As a murder mystery, it's perhaps a little too simple - the police division investigating here must have been the special needs department.... but that doesn't really matter. What matters are the relationships, the witty banter, the genuine tension, the fast moving action..... and which girl will Warner Baxter end up with?
This was Woody Van Dyke's next project after the fabulous NIGHT COURT (a really fabulous film) so it had a lot to live up to but there was no need to worry. Virtually everything he made from now on such as THE THIN MAN was pure gold. In this he benefits from having a great lead - Clark Gable's dad or maybe older brother - Warner Baxter. The characters are the ultimate cliches but so what - that just gives it a comfy warm sense of familiarity. Myrna Loy plays the archetypal tart-with-a-heart and although I've always found her strangely sinister like one of Satan's demons in drag, I have to admit that she's actually not too bad in this. Warner Baxter however just oozes charm and sincerity - it's definitely his picture...... along with Nat Pendleton who plays the loveable not as bad as the nasty gangster, gangster.
It's formulaic of course but it still has its own individual style and isn't a cheap imitation of a Warner Brothers gangster film. It's pure, classy MGM entertainment.
For an early thirties picture, the cast is unusually large with an unusually multi-layered story. Despite this, because of its skilful and focused writing, the story is told with beautiful simplicity. As a murder mystery, it's perhaps a little too simple - the police division investigating here must have been the special needs department.... but that doesn't really matter. What matters are the relationships, the witty banter, the genuine tension, the fast moving action..... and which girl will Warner Baxter end up with?
This was Woody Van Dyke's next project after the fabulous NIGHT COURT (a really fabulous film) so it had a lot to live up to but there was no need to worry. Virtually everything he made from now on such as THE THIN MAN was pure gold. In this he benefits from having a great lead - Clark Gable's dad or maybe older brother - Warner Baxter. The characters are the ultimate cliches but so what - that just gives it a comfy warm sense of familiarity. Myrna Loy plays the archetypal tart-with-a-heart and although I've always found her strangely sinister like one of Satan's demons in drag, I have to admit that she's actually not too bad in this. Warner Baxter however just oozes charm and sincerity - it's definitely his picture...... along with Nat Pendleton who plays the loveable not as bad as the nasty gangster, gangster.
It's formulaic of course but it still has its own individual style and isn't a cheap imitation of a Warner Brothers gangster film. It's pure, classy MGM entertainment.
I knew virtually nothing about this movie before I saw it. At one time I may have seen that Leonard Maltin thought highly of it but Leonard has thought highly of more than a few duds. However, this was anything but a yawner!! That I have always thought W. S. Van Dyke was unappreciated as a director may also be a factor in my opinion of the movie.
I found Penthouse to be thoroughly enjoyable. Although never a big Warner Baxter fan, he was very convincing as an ostracized `society lawyer'. Loy, who was directed by Van Dyke in three of her best pre-Nora movies, is what can only be described as a call girl. Loy as a call girl is not nearly as difficult to believe as the name of the character she plays, Gertie Waxted. Myrna never remotely looked like a Gertie Waxted, regardless of her occupation and any call girl with a name like Gertie Waxted would have changed it.
I would imagine this was released pre-code during 1933 because the innuendo between Baxter and Loy was anything but subtle especially the first night and morning after Loy spends in Baxter's apartment (in separate rooms). The exchange where Myrna tells Baxter she was disappointed she did not have to defend her honor the previous evening is classic. At the same time, one has the opinion she would not have put up much of a fight. The supporting cast of Butterworth, Clark, Nat Pendleton, one of my all-time favorites, and Gordon is excellent. Butterworth's deadpan `I hope this will teach Mr. Durant (Baxter) only to take murderers from the best families' line at the end of the movie is unforgettable.
The Plot Summary accurately describes the situation so there is no need to dwell on it here. The two aspects of the plot that carry the movie are Loy as a very believable call girl and Pendleton as a gangster who is devoted to Baxter for getting him off on the proverbial murder wrap. To most classic movie fans, Loy is Nora Charles, William Powell's wife or Milly Stephenson. Loy as a believable call girl is no easy feat. In post-code Manhattan Melodrama one had to read between the lines to see anything wrong with Myrna as Blackie's girl who moves over to William Powell. In Penthouse, Myrna as a call girl punches you in the face.
I found Penthouse to be thoroughly enjoyable. Although never a big Warner Baxter fan, he was very convincing as an ostracized `society lawyer'. Loy, who was directed by Van Dyke in three of her best pre-Nora movies, is what can only be described as a call girl. Loy as a call girl is not nearly as difficult to believe as the name of the character she plays, Gertie Waxted. Myrna never remotely looked like a Gertie Waxted, regardless of her occupation and any call girl with a name like Gertie Waxted would have changed it.
I would imagine this was released pre-code during 1933 because the innuendo between Baxter and Loy was anything but subtle especially the first night and morning after Loy spends in Baxter's apartment (in separate rooms). The exchange where Myrna tells Baxter she was disappointed she did not have to defend her honor the previous evening is classic. At the same time, one has the opinion she would not have put up much of a fight. The supporting cast of Butterworth, Clark, Nat Pendleton, one of my all-time favorites, and Gordon is excellent. Butterworth's deadpan `I hope this will teach Mr. Durant (Baxter) only to take murderers from the best families' line at the end of the movie is unforgettable.
The Plot Summary accurately describes the situation so there is no need to dwell on it here. The two aspects of the plot that carry the movie are Loy as a very believable call girl and Pendleton as a gangster who is devoted to Baxter for getting him off on the proverbial murder wrap. To most classic movie fans, Loy is Nora Charles, William Powell's wife or Milly Stephenson. Loy as a believable call girl is no easy feat. In post-code Manhattan Melodrama one had to read between the lines to see anything wrong with Myrna as Blackie's girl who moves over to William Powell. In Penthouse, Myrna as a call girl punches you in the face.
Wusstest du schon
- WissenswertesThe film opens with the actual May, 1933 cover of Cosmopolitan magazine; the issue in which Arthur Somers Roche's story appeared. The film went into production in August and was released in September that same year. This film is a tremendous example of how quickly a Hollywood studio could work back then. At the time, Cosmopolitan was a literary periodical, first published in 1886, and didn't become a "women's" magazine until the mid-1960s.
- PatzerWhen Gertie stands looking out Durant's apartment window, her left arm is up with her hand on her head, but when the shot changes to see her from the front, her arm is down and her hand is resting against the window frame.
- Zitate
Jackson 'Jack' Durant: Oh, I've been stupid, very stupid.
Gertie Waxted: Well, of course. You're a man.
- Crazy CreditsThe credits are shown over the pages of the Cosmopolitan magazine story that the film is based on.
- VerbindungenFeatured in Myrna Loy: Es ist schön heimzukehren (1990)
- SoundtracksDon't Blame Me
(1933) (uncredited)
Music by Jimmy McHugh
Lyrics by Dorothy Fields
Played at the Country Club
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- Laufzeit1 Stunde 30 Minuten
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