CALIFICACIÓN DE IMDb
6.8/10
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TU CALIFICACIÓN
Agrega una trama en tu idiomaA 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.
- Dirección
- Guionistas
- Elenco
- Premios
- 2 premios ganados en total
William Bailey
- Maitre D' - Pinnacle Club
- (sin créditos)
Ed Brady
- Man at Crelliman's Place
- (sin créditos)
Lynton Brent
- Reporter
- (sin créditos)
Theresa Harris
- Lili - Mimi's Maid
- (sin créditos)
Edward Hearn
- Detective
- (sin créditos)
Samuel S. Hinds
- Stuyvesant - Durant's Law Partner
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
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.
There is lots of entertainment value in this picture - quality acting, sharp dialog, quick pace - but those who are looking for a story based in realistic circumstances may be disappointed. Despite there being a goodly number of unsavory types among the characters, just about everyone comes across as clean-cut, friendly, ready with a smile, and not the least bit threatening. This takes the sharp edge off a picture with lots of promise in its early development. Nat Pendleton plays a crime boss as if he hasn't a care in the world, more than ready to use his resources to make others happy. The Myrna Loy character is appealing (much as her Nora Charles was), but defies explication: charming, intelligent, well-mannered and well-spoken, but content to serve the paying customers as a hostess/bar girl/prostitute. It just doesn't add up. Mae Clark, as a less refined colleague, is much more believable.
[Don't fail to notice the latter, in a fit of anger, ready to throw a perfume bottle against the wall, then noticing the label and substituting a lesser brand; or Loy, keeping her composure as Warner Baxter chooses not to remain in her assigned room for the night, then immediately surveying her looks - right profile, left profile, hair, makeup - in a mirror, wondering if something has been lost.]
The picture needs more grit, given its subject matter. Comic relief from Charles Butterworth and Tom Kennedy are just what it doesn't need.
[Don't fail to notice the latter, in a fit of anger, ready to throw a perfume bottle against the wall, then noticing the label and substituting a lesser brand; or Loy, keeping her composure as Warner Baxter chooses not to remain in her assigned room for the night, then immediately surveying her looks - right profile, left profile, hair, makeup - in a mirror, wondering if something has been lost.]
The picture needs more grit, given its subject matter. Comic relief from Charles Butterworth and Tom Kennedy are just what it doesn't need.
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.
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.
This film contains all the elements of a great gangster story. It is a perfect example of 1930's big city gangster films. Yet it does not fall into a stereotypical mold at all. It is entertaining throughout. Just when you think it is going one way, it goes the other, building the suspense and irony until you realize it is not going to be a typical story.
All the players keep in character and hold your attention with crisp and refreshing dialogue. Baxter and Loy are so in tune with one another, and you do not get the feeling they are acting.
And isn't it neat to see Nat Pendleton play a smart, in-charge guy for once, instead of just a bumbling half-wit mob henchman. (Though he is always likable in that role, it surprised me to see what a smart guy he really was!) The plot of this film is genre-based, yet quite original and full of all the necessary elements: virtue, vice, mystery, false suspicion, resolution of mystery, resolution of false suspicion, romance, heavy action, jazz, and many doors that seem to want to open, but just the right ones open at just the right intervals to keep you entertained throughout this gem of a film.
All the players keep in character and hold your attention with crisp and refreshing dialogue. Baxter and Loy are so in tune with one another, and you do not get the feeling they are acting.
And isn't it neat to see Nat Pendleton play a smart, in-charge guy for once, instead of just a bumbling half-wit mob henchman. (Though he is always likable in that role, it surprised me to see what a smart guy he really was!) The plot of this film is genre-based, yet quite original and full of all the necessary elements: virtue, vice, mystery, false suspicion, resolution of mystery, resolution of false suspicion, romance, heavy action, jazz, and many doors that seem to want to open, but just the right ones open at just the right intervals to keep you entertained throughout this gem of a film.
¿Sabías que…?
- TriviaThe 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.
- ErroresWhen 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.
- Citas
Jackson 'Jack' Durant: Oh, I've been stupid, very stupid.
Gertie Waxted: Well, of course. You're a man.
- Créditos curiososThe credits are shown over the pages of the Cosmopolitan magazine story that the film is based on.
- ConexionesFeatured in Myrna Loy: So Nice to Come Home to (1990)
- Bandas sonorasDon't Blame Me
(1933) (uncredited)
Music by Jimmy McHugh
Lyrics by Dorothy Fields
Played at the Country Club
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- How long is Penthouse?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- También se conoce como
- Advokat podzemlja
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
- Tiempo de ejecución1 hora 30 minutos
- Color
- Relación de aspecto
- 1.37 : 1
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