Doylenf
feb 2001 se unió
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Distintivos3
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Clasificación de Doylenf
The central role in this low-budget crime melodrama really belongs to KAY FRANCIS, and she makes her lady doctor pretty believable. But it's HUMPHREY BOGART who walks off with the show, which is no more than a programmer made on the cheap, by playing up the comic elements of his character.
Bogart is an illiterate man who wants his "genius" to be known. He kidnaps a man (James Stephenson) with a reputation as a writer in order to tell him his life story and make him the "king of the underworld." But Kay Francis spoils all his plans when she has to prove herself innocent of criminal charges pending against her due to a prior event. She fools the hoods into believing they will go blind if they don't let her help them.
The story has several implausible script problems and never really comes off as credible. Interesting only to see that Bogart was far more worthy of his early material than the studio realized. And Kay Francis has one of her more believable roles in this crime melodrama.
Bogart is an illiterate man who wants his "genius" to be known. He kidnaps a man (James Stephenson) with a reputation as a writer in order to tell him his life story and make him the "king of the underworld." But Kay Francis spoils all his plans when she has to prove herself innocent of criminal charges pending against her due to a prior event. She fools the hoods into believing they will go blind if they don't let her help them.
The story has several implausible script problems and never really comes off as credible. Interesting only to see that Bogart was far more worthy of his early material than the studio realized. And Kay Francis has one of her more believable roles in this crime melodrama.
And most of them belong to Dwight Frye as the town idiot who specializes in cuddling bats--much to the horror of the village inhabitants.
However, the filming is on a very primitive scale. Sets and costumes have the proper Gothic mood but the production is obviously a cheapie made in a hurry to capitalize on other films featuring Lionel Atwill and Fay Wray which were decidedly more polished.
Melvyn Douglas, looking very youthful, is studying the case and can't figure out who the real culprit is. By this time, the audience can guess that it's "the one you'd least suspect."
Summing up: Watchable as a primitive horror film from Majestic Studio with a reasonably good cast. Has the necessary ingredients for classic horror films of this era.
However, the filming is on a very primitive scale. Sets and costumes have the proper Gothic mood but the production is obviously a cheapie made in a hurry to capitalize on other films featuring Lionel Atwill and Fay Wray which were decidedly more polished.
Melvyn Douglas, looking very youthful, is studying the case and can't figure out who the real culprit is. By this time, the audience can guess that it's "the one you'd least suspect."
Summing up: Watchable as a primitive horror film from Majestic Studio with a reasonably good cast. Has the necessary ingredients for classic horror films of this era.
Surprised I am that some reviewers here really liked this overwrought melodrama about the tobacco industry and one man's rise to power because he has the vision to see how cigarettes could come from machines.
Gary Cooper has the most unsympathetic role of his career as a stormy man caught between conflicted love with two women--Patricia Neal, headstrong and rich, and Lauren Bacall, the madam of a brothel. There's a suggestion of GWTW in these characters, but too much of the dialog resorts to confrontational moments that are never resolved.
Most of the hatred comes from Patricia Neal's dad, Donald Crisp, who from the very start of the film wishes Gary Cooper would drop dead. It takes up too much of the film with the love/hate relationships between Cooper, Neal and Bacall getting the most footage.
But in the end, with these unsympathetic characters chewing up the scenery with all their vitriol, the overall feeling is a waste of time. None of the relationships evolve smoothly, not even at the conclusion.
Summing up: No wonder the film is so little known today. The saving grace is an interesting score by Victor Young.
Gary Cooper has the most unsympathetic role of his career as a stormy man caught between conflicted love with two women--Patricia Neal, headstrong and rich, and Lauren Bacall, the madam of a brothel. There's a suggestion of GWTW in these characters, but too much of the dialog resorts to confrontational moments that are never resolved.
Most of the hatred comes from Patricia Neal's dad, Donald Crisp, who from the very start of the film wishes Gary Cooper would drop dead. It takes up too much of the film with the love/hate relationships between Cooper, Neal and Bacall getting the most footage.
But in the end, with these unsympathetic characters chewing up the scenery with all their vitriol, the overall feeling is a waste of time. None of the relationships evolve smoothly, not even at the conclusion.
Summing up: No wonder the film is so little known today. The saving grace is an interesting score by Victor Young.