Blood Money

Wow! Were do you start with this one?

Director Rowland Brown (soon blackballed in Hollywood for striking a producer) certainly confirms his reputation for style with this racy little pre-Code gem, in which an impossibly youthful Judith Anderson and Frances Dee are both revelations: the former as a supple, sleepy-eyed, smoky-voiced dame draped in a succession of slinky backless thirties evening gowns; the latter as a spoilt little minx who in Miss Dee's own words is a "a kleptomaniac, a nymphomaniac, and anything in between".

Great fun.

"Blood Money" is a noir mystery and drama set in Los Angeles in the early 1930s. This was during the Great Depression, but there's no sign of bread lines and people out of work here. One can imagine that the depression was felt much less in the film capital where movies were still being made to help raise the spirits of the public across the nation. Well, that included crime and murder flicks as well. While this one isn't about murder, it is one heck of a film that shows widespread corruption.

Just about everybody and anybody who is anybody is a friend of and probably on the take with Bill Bailey. The famed bail bondsman is played very well by George Bancroft. I can't think of another film that ever featured or touted a character who was a bail bondsman. Such roles barely get notice when they do appear in an occasional film.

But here, our "hero," while operating on the edge of the law - not clearly violating it, is a likable guy who is friends with all the police force, the judges and courts, and the city and state politicians. Bailey's girlfriend is Ruby Darling (played by Judith Anderson), who owns and runs an upscale speakeasy. Blossom Seeley plays the singer in her joint. Seeley was a famous singer who performed on vaudeville and in nightclubs, and this is just one of four films that she was in.

When Bailey gets a society gal out of a jam for shoplifting, he is smitten by her. Frances Dee plays Elaine Talbart. But she goes for any man who's exciting and winds up with Ruby's brother, Drury Darling, who's a master con-man and robber. Bailey has some problems when Ruby is jealous of his affections for Elaine, but in the end things might just work out

Lucille Ball has a small part in this film as one of Drury's girl friend's at the race track. Here are some favorite lines form this film.

Judge's Wife (Florence Roberts, uncredited), "Well, that Bill Bailey has a lot of nerve." Judge (Clarence Wilson, uncredited), "Mmm, yeah. But he's got a lot of influence too."

Butcher Weighing Sausages (Herman Bing, uncredited), "That was Bill Bailey. He just ordered one hundred and fifty turkeys for Thanksgiving." Butcher (Dewey Robins, uncredited), "For charity, huh?" Butcher with Sausage, "Yeah, sure, for our poor judges, our poor lawyers, and our poor police officers."

Racetrack Spectator (Dennis O'Keefe, uncredited), "You haven't picked a winner tonight, Bailey." Bill Bailey, "I make all my money off losers."

Ruby Darling, "Weren't you ever romantic?" Bill Bailey, "Heh, heh. Can you imagine a guy getting romantic in a reform school, hmmm?"

Bill Bailey, "As long as you have cities, you're bound to have vices. You can't control human nature by putting in a new mayor."

Bill Bailey, "The only difference between a liberal and a conservative man is that the liberal recognize the existence of vice and controls it, while the conservative just turns his back and pretends that it doesn't exist."

Bill Bailey, "The tougher the times, the better my business."

Bill Bailey, "Why, if you were dying and needed blood for a transfusion, I'd be the first one to give it." Ruby Darling, "So, the only way we can get together is to have a blood transfusion, huh?"

Ruby Darling, "I can remember when you thought a hamburger sandwich was a banquet. And you called a dinner a feast."

Bill Bailey, "And, don't forget - behind every Barnum there was always a Bailey."

Blood Money (1933)

** (out of 4)

Early Pre-Code from Fox has George Bancroft playing a dirty bail bondsman who gets caught up with a rich girl (Frances Dee) who can't seem to stay out of trouble. I had read several good reviews of this film, which compared it to the fast Pre-Codes of Warner but I found this 65-minute drama pretty boring from start to finish. Bancroft gives his best Cagney impersonation but doesn't add anything to the character. He's neither cool, stylish or tough. The most interesting aspect is seeing Dee play a bad girl, which I guess we'd compare to Paris Hilton today. Dee usually played the good girl so it's nice seeing her doing something different. The film has some pretty rough dialogue, which includes two different times where Bancroft is called homosexual terms including a "fag". The ending also rips off Keaton's Sherlock Jr. with an explosive cue ball, which is just downright stupid here.

One of the most interesting of the Fox pre-code talkies, for several reasons: 1) It has nice girl Frances Dee as a perverse and masochistic society miss, snarling and hip-shaking and shocking the elite. 2) It has Judith Anderson, in a swell backless evening gown, playing a moll, against-the-grain casting of the most inspired sort, even if the movie never explains her high-tone Brit accent vs. her brother's American Midwest elongated vowels. (She also played a gangster years later in "Lady Scarface," but it's a much less interesting film.) 3) You get to see Blossom Seeley, the great vaudevillian, sob a couple of torch songs, and she's the real thing. 4), and most fascinatingly: George Bancroft plays a no- better-than-he-should-be bail bondsman who works both sides of the street and is terribly corrupt, yet the movie likes him, we like him, and he doesn't have to repent for it. It's lively and violent and funny, and, unlike so many Fox early talkies, it has the fast pace of a good Paramount or Warners flick from the same period.

"Blood Money" is a fascinating precode - what else can you say about a film that has Judith Anderson in a glamor role? And an ingénue who longs for S&M to boot.

This 1933 film concerns a bail bondsman named Bill Bailey (George Bancroft) who's been helping out the mob for years. He falls for a pretty shoplifter named Elaine (Frances Dee) - she's actually slumming, as she's from a wealthy family.

This leaves Bailey's girlfriend, club owner Ruby (Anderson) in the lurch. She's the woman responsible for his success, helping him out when he was thrown off of the police force.

However, Elaine (who would follow any man who thrashed her around like a dog, says she) steals some bonds instead of delivering them to the appropriate place, thereby setting up Bailey as a mob target and getting his brother-in-law in deep trouble with the law. Ruby believes he's responsible for her brother's problems, and has a hit put out on him.

The acting is over the top, the dialogue is rough and filled with sexual innuendos, the atmosphere is sleazy - it's pre-code all right. I read a transcript of an interview with Joel McCrea (intended to be for a biography that wasn't written) and he kept referring to "Mother" - I finally realized that he didn't call his wife, Frances Dee, "mother" - he was referring to her that way while talking to one of his sons, who was conducting the interview. As the promiscuous, dying to be hit ingénue, she wasn't very motherly in this.

This is a no-miss if only to see Judith Anderson in a gown and jewels hanging out with mobsters and Frances Dee as something other than a pretty goody-two-shoes.