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"Hide Out" starts out focusing on a group of racketeers operating in Manhattan. We are introduced to Jonathan Wilson, who seems to be a key man to the organization. Jonathan is clearly a ladies' man, but his luck is about to change after he is seen pursuing the glamorous Baby. In a hilarious scene, Jonathan, has secured a ring side table to watch the beautiful Baby singing, as part of a night club act. He proceeds to ask her for a date that same night, without the singer missing a beat while she accepts his invitation. That also proves to be his own undoing because the police is closing after him.

The second part of this comedy, directed with style by W. S. Van Dyke, concentrates in how Jonathan, who has been wounded when he tried to flee his pursuers, is found on the side of the road by a Connecticutt farmer, Henry Miller. He takes him home, where the whole family takes an interest in making him well. The lovely Pauline Miller, a young teacher, likes "Lucky", as Jonathan calls himself. Life in the farm works its magic in this man and transform him when he falls in love with the beautiful Pauline.

Of course, we all know that crime doesn't pay, so when at the end of the film we see Det. MacCarthy come knocking on the Miller's door, we realize that Lucky must pay for his evil ways of the past, although he makes us feel, because of his transformation and the love he feels for the young woman, that somehow, he has vindicated himself by wanting to stay in the farm forever.

Robert Montgomery's appearance in the film makes it even better than what it should have been. Mr. Montgomery is excellent in his scenes with Maureen O'Sullivan, who is perfect as the young Pauline Miller. Pauline Patterson and Whitford Kane are the older Millers, and Mickey Rooney, who was about thirteen, but looks much younger, makes a valuable contribution as Willie Miller. Edward Arnold, one of the best character actors working in films at that time, puts an appearance as Detective MacCarthy.

The film, with a running time of 81 minutes, has the right length and involves us in it. W. S. Van Dyke directed with usual sure hand and got a lot out his great cast in this delightful film.

This is a very enjoyable though predictable film--exactly the sort of classic Hollywood film I like and they just don't make any more. The first portion of the film shows leading man Robert Montgomery to be a real jerk. Not only is he a mobster, but he's also completely selfish and a real cad. Eventually, though, his larcenous ways nearly get him killed and he is forced to escape to the countryside to avoid the law and heal following being shot by police in his escape.

Montgomery is discovered by a nice and unsuspecting family who have no idea he's a crook. They sweetly agree to let him stay there and they treat him like a member of the family. While the dad is a pretty forgettable but nice character, long-time character actress Elizabeth Patterson does an amazingly effective job as the mother and Mickey Rooney is cute as a nice little boy who is all boy! The sister was played by a young Maureen O'Sullivan who is simply radiant. It isn't surprising that Montgomery soon falls for O'Sullivan, but her inherent decency and sweetness result in a change in the crook. Over time, he realizes for the first time that he truly cares about her--as well as the entire family. Is this predictable? Sure,...but it's handled so well and the film is so engaging that you probably won't mind--I know I sure didn't! Overall, the film gets very high marks for acting (with a great ensemble cast), a well-written script (especially the dialog) and is just plain entertaining. See this one--you probably won't be sorry.

It's a modest movie. Not a big deal. But it's got some things in it I like. First, it stars Robert Montgomery, and Maureen O'Sullivan, which though not a guarantee of a good movie, sure is a sign of promise. And in this case it pays off. Montgomery plays a racketeer who has to lam it to the countryside to wait for some heat to die down. The odd thing is, I could not really figure out what his "racket" was. There he is injured and stays with a family to recover, meeting and chumming it with the daughter. That's where the dividing line is. In the first part you are in precode gangster land. Then Montgomery wakes up in a four poster bed with a gingham bedspread - he has arrived in production code land. The plot's flimsy, for sure, on both sides of the line, but it's there to provide the opportunity for Montgomery and O'Sullivan to meet and chatter. And that's the main attraction. The banter between the simple, ingenuous, yet clear-headed and no-nonsense country lass, and the sophisticated, jaded, out-of-his-element city feller, as they get to know each other, like each other, and fall in love. The style of their exchanges has an informal, conversational feel, as if they were talking, not reciting lines.

Of course, the love story is accompanied by his character reformation into a good person, or one that looks to be in the future. But it's handled discretely, and if you ignore it, it doesn't spoil things. The supporting cast is a bunch of pros, so they know how not to step on things: Elizabeth Patterson and Whitford Kane as the ma and pa, Mickey Rooney-for once not insufferably irritating playing an insufferably irritating son, and Edward Arnold as the dogged cop. One other thing I like about the movie is that it achieves portraying a lively, energetic, spontaneous family scene without being noisy, discordant, and irritating. Something a lot of movies attempt, but fail miserably at doing.

Robert Montgomery plays a gangster hiding out on a farm in "Hide-Out," a 1934 film also starring Maureen O'Sullivan, Edward Arnold, Elizabeth Patterson, Whitford Kane, and Mickey Rooney.

With the police after him, Lucky Wilson takes off but ends up shot and unconscious. He is then found by a farmer Miller (Kane) who takes him home.

There, Lucky, now calling himself by his real name, Jonathan, meets a normal American family, including an above-normal looking Pauline (Maureen O'Sullivan), who is the daughter of the house.

Jonathan stretches out his recovery and begins to enjoy the idyllic life of milking cows, feeding chickens, romancing Pauline, and being sort of a big brother to her younger sibling Willie (Mickey Rooney).

This is a sweet film with nothing special to recommend it except the beautiful young O'Sullivan and an amusing performance by Montgomery. In one of the best scenes, he sits at a ringside table and asks a singer out - while she's singing - and she answers him under her breath during short orchestral interludes.

The end seems a little abrupt, but this is a pleasant film. If Mrs. Miller looks familiar, she was Mrs. Trumbull, the neighbor who babysat Little Ricky on "I Love Lucy."

This sentimental M-G-M "gangster" film works like a "Tarzan" in reverse: here the seemingly incorrigible hood played by Montgomery, urbane and a touch cynical, finds his cold heart surely melting in the warm embrace of a simple farm family and their soothing workaday life.

In "Tarzan" Maureen O'Sullivan is the "outsider", and although she must adjust to life in the jungle the thrust of that story is that she "domesticates" the "ape man" even as she learns to accept the simpler pleasures of living "close to nature". Here Montgomery is the one out of his element and we find him mystified by the sounds of crickets in the evening--something almost as strange and foreign to him as the unpretentious caring ways of the Miller family. When Mom and Pop and little "don't call me" Willy (played by young Mickey Rooney) conveniently leave the farm for a day, Montgomery and O'Sullivan get to play "farm" (baling the hay, splitting wood) the same way Tarzan and Jane get to play "house" together. In both cases O'Sullivan has "tamed" the wild beast.

"Tarzan" was an adventure film, however--the journey takes place in the great outdoors and nature is a mirror. "Hide-out" is an inner journey, on the other hand--even as he's hauled off to prison Montgomery smiles because he's finally come "home".

Yeah Yeah Yeah, I read about the Cliché's, but thats why I watch movies like these. I want a predictable ending, I want cliché's. I don't want to be emotionally challenged, I want to be entertained. A forgotten concept in todays movies. Occasionally weak acting and improvisation that lends a sense of realism. I like the mix between actual barnyard scenes and studio shots, probably technologically difficult in those times. Overall a very satisfying movie, and you gotta love Mickey Rooney as an ornery boy. I would have liked to see a sequel where the main character gets out of Jail and goes back. Marries the Girl, fixes the milk problem for Pa, and raises a passel of little piglets.

More than one movie was been made about a crook (or crooks in the case of couples) who leaves the city (usually, it's the Big Apple of New York) to go into hiding in a rural area. I've seen a few of them, and all but one that I can recall were comedy mysteries or crime pictures. Well, "Hide-Out" is an early one that stars Robert Montgomery and Maureen O'Sullivan, with a very large supporting cast.

Montgomery plays a sleezy, cocky, Jonathan "Lucky" Wilson. The cockiness fits Montgomery's normal film persona -- a smugginess in his constant quirky smile. It's a good story and film. While Wilson's conversion or change isn't quite believable, the performances by O'Sullivan as Pauline Miller, and those of the rest of her family and other supporting cast boost this film. Mickey Rooney is very good in this early role of his career as Pauline's youngest brother, Wiliam, who can't stand being called "Willie."

Old-time movie buffs and those interested in silver screen history will note and enjoy the roles of some of the great stock actors of mystery comedies. Here, Edward Brophy plays Detective Britt, Douglass Dumbrille plays nightclub owner DeSalle, and the dastardly appearing Henry Gordon plays The Boss, Tony Berrelli. Other comedy supporters are here as well, and do a good job - Herman Bing as Jake and Henry Armetta as Shuman.

Edward Arnold is one of the great supporting actors of Hollywood's golden era who never so much as received a nomination for any awards. Yet he could act in any genre, with a variety of characters and personas, and seem more natural in each role than anyone else. Arnold was superb in some great comedies and dramas. And, he could play mean and bad guys who came across tough as nails. Here he's a good guy, police detective and Lt. Mac MacCarthy who is hot on the trail of Wilson, his boss Berrelli, and the gang.

This is an enjoyable film, but younger modern audiences who have been brought up on fast action and speed in everything may not be able to slow down enough to enjoy it.

After Robert Montgomery, a bad-boy gangster, gets wounded in a shoot-out, his cronies decide to do what's best for him even though he's protesting every step of the way. One of his pals knows a guy who knows a guy, and before he knows it, Bob's cooped up in a farmhouse in the country during his recovery. He complains and wishes he could leave, until the daughter of the house, the young and beautiful Maureen O'Sullivan, brings him a cup of tea. After that, he tries to stay as long as he can!

It's always fun to watch two beautiful people fall in love on the big screen, so if you'd like to see Mia Farrow's mom and Elizabeth Montgomery's dad in a romance, check this one out. It's very obviously made in 1934, though, so be prepared for an old movie. Cell phones weren't invented yet, jokes are made about how to milk a cow, and the idea of a really great date is to pack a picnic and eat among the great outdoors looking at a river. For my fellow old movie buffs out there, if you liked The Life of Jimmy Dolan, you'll probably like this one. Both center on a gangster hiding out with a nice farming family, who fall in love with the pretty daughter, and who are being chased by a hard-nosed, soft-hearted cop. The cop in Hide-Out is Edward Arnold, and the rest of the "aw shucks" family who soften up Robert Montgomery and help him realize he's got a chance for a better life are Elizabeth Patterson, Whitford Kane, and Mickey Rooney.

"Sweet" is not a word I've ever used to describe a film, mostly because the films that might merit the word are invariably too sappy to qualify. But "Hide-Out" pulls it off and truly deserves that description.

Much like "Bad Bascomb" (1946) and "Angel and the Badman" (1947) this is the story of an incorrigible criminal who is reformed because of his accidental association with good people. In "Hide-out" they are not reformers and there is no deliberate effort to reform; the character change comes because the positive examples cause him to adopt their values and belief system.

Robert Montgomery plays Lucky Wilson, a charming Broadway playboy who is part of a protection racket specializing in nightclubs. His boss gets a percentage of each club's profits and Lucky insures the payoff is correct by estimating each club's business from their napkin usage (a convenient procedure because they control the laundry the clubs use).

The opening sequence is exceptionally well staged, with Lucky's insatiable appetite for women revealed through a montage of blonde conquests; in the opening minutes he goes from a girlfriend's maid, to the girlfriend, to another girlfriend waiting for him in a car, to a new conquest at the night club he visits. During the brief intervals between conquests he finds time to leer and flirt with every pretty girl who crosses his path.

All these girls are blonds with lots of makeup and with elaborate hairstyles. Their appearances are meant to contrast with the natural appearance of Pauline Miller (Margaret O'Sullivan), the girl with whom he eventually falls in love.

"Hide-Out" is one of those films where the casting is perfect, as you cannot imagine anyone but Montgomery and O'Sullivan being able to pull this out without appearing completely silly. They are nicely assisted by Elizabeth Patterson (as Pauline's mother) and by a very young Mickey Rooney (as Pauline's younger brother Willie). The standing gag is Willie's frustrated attempts to get the family to call him Bill. His scenes with Montgomery are especially good and it is interesting how much natural acting talent he exhibits this early in his career. They go out on a standing gag about the reproductive abilities of the rabbits he has been raising.

A big reason why the film works is the attention paid to the details,. A second viewing will reveal many things you do not even notice the first time around, like Montgomery's continuing discomfort with "nature" when he brushes a rose bush in the front of the house. There are hundreds of these little details, most of them involving the citified Montgomery's fish-out-of-water adjustments to country life.

There was a 1941 remake titled "I'll Wait for You" staring Robert Sterling and Marsha Hunt. Although I love Marsha Hunt the 1934 original is easily the better film.

Then again, what do I know? I'm only a child.

Ladies man and gangster Lucky Wilson (Robert Montgomery) is shot by the police but manages to escape, driving into the country before passing out. He's found and taken in by a kindly family. They nurse Lucky back to health thinking he was the innocent victim of a gangster shoot-out. Gradually Lucky starts to fall for the pretty daughter (Maureen O'Sullivan) and has second thoughts about his criminal ways.

Montgomery is at his charming best here. Even when he's bad, you can't help but like him. Lovely O'Sullivan was no stranger to taming wild men in films, obviously. She's one of the most likable actresses from the '30s and movies like this show why. Whitford Kane and Elizabeth Patterson are terrific as Maureen's pure, salt-of-the-earth parents. Mickey Rooney is fun as their son. Edward Arnold is great as the tough detective out to get Lucky (ha!). Muriel Evans is extremely sexy in her small part as nightclub singer Baby. Va-va-va-voom! It's a funny, sentimental film with a little bit of edge and a great cast. Give it a shot.

With one or two well known exceptions from the pre code era MGM could not make a decent gangster film.The first 10 minutes were great.Montgomery puts the heat on night club owners and then is wounded fleeing the cops.He flees to the country and the film changes tack.It becomes a homily about the virtues of country life and how the beauty tames the beast.The last 10 minutes are a bit livelier.However the hour in between just drags along as the redemptive ways of the country eventually wear away the rough edges of Montgomery's character.I don't know what it is but the majority of Warners films of this era still have the ability to entertain and engage the mind.Films made by MGM seem to be encased in aspic and totally boring.

W.S Van Dyke came from a documentary background (Eskimo and some stuff with Robert Flaherty) and it shows in some of the barnyard scenes that were obviously improvised. Also, at the beginning there are nightclub scenes filmed with a shimmering effect that is truly stunning. The actors drip with honest charm while going through the motions demanded by the cliched plot.

ROBERT MONTGOMERY is the injured gangster being sheltered by a farm family with a lovely daughter (MAUREEN O'SULLIVAN) who quickly responds to his tough guy charm. MICKEY ROONEY is the ornery little brother continually pestering everybody and declaring "Don't call me Willie!" Montgomery gradually reforms after his initial discomfort with country life. ("Hurry up and lay that egg!"). The predictable plot is light-hearted nonsense but enjoyable for the performances of Montgomery and O'Sullivan who seem to be enjoying their bucolic roles that have them feeding chickens, milking cows and collecting eggs. It's a pleasant little film, directed in workmanlike style by Woody Van Dyke.

Maureen O'Sullivan looks radiant and has seldom been seen to better advantage and Robert Montgomery makes the most of his reformed gangster role.

As a film, it's nothing too special, but it does pass the time pleasantly thanks to the warm chemistry between its two stars. Too bad MGM couldn't find better future material for Maureen, who is at her loveliest in this outing. I've never been a big Robert Montgomery fan, but he does give one of his more appealing performances here.

This 1934 rom com from Woody Van Dyke sure as hell woulda been better had it been made in 1933, '32, '31, '30 or, in other words, before the code came crashing down and consigned overtly sexual NYC blondes to the shadows and elevated brunette virgins from Connecticut. You can almost hear the fizz of Hackett and Goodrich's dialogue fizzle out as soon as we move from Gotham to the Nutmeg State and the humor has to depend on chicken feeding and cow milking schtick. And because she is so de-sexualized the relationship between Maureen O'Sullivan and Robert Montgomery is a bore. One longs for the re-appearance of Muriel Evans and/or Louise Henry and some racy repartee. But that would have meant that Will Hays had never existed. A pleasant thought. C plus.

Jonathan 'Lucky' Wilson (Robert Montgomery) is a playboy racketeer. He makes enemies of gangsters and gets shot by the police. He crashes his car and recovers on Henry Miller's farm. He falls for Miller's daughter Pauline Miller (Maureen O'Sullivan).

This got nominated for a writing Oscar. It also has a young teenaged Mickey Rooney who is already a veteran of the big screen. The story takes awhile to get to the farm. That's the better part of the movie. A lot of that is Lucky being a fish out of water and Maureen O'Sullivan's endearing performance. There is a sweetness to the romance despite Lucky's earlier womanizing. I don't know about the writing. Most of this is the relationship and that is a lot about the two actors.

Robert Montgomery and Maureen O'Sullivan have oodles of chemistry together in this minor romantic comedy.

Montgomery is a gangster on the lam who gets wounded and taken in by a nice country family out in the middle of nowhere. Of course he falls for the daughter, and of course the cops find out where he is and come looking for him, and of course there's a precocious little brother who we're supposed to find adorable (in this case a young Mickey Rooney, and he actually is kind of cute). There are no surprises and no major laughs, but there are plenty of moments that will make you smile (like Montgomery feeding the chickens), and it's so short as to barely qualify as a feature length movie, so you don't have to invest much time in it.

"Hide-Out" received an Oscar nomination for Best Original Story at the 1934 Academy Awards.

Grade: B+

Robert Montgomery stars in Hide-Out playing a dapper hood, front man for protection racketeer C. Henry Gordon. He doesn't do the rough stuff, Montgomery is the velvet glove and others provide the muscle.

Police lieutenant Edward Arnold has been trying to nail Montgomery for years and a complaint has Gordon ordering Montgomery out into the country. With a police bullet in him Montgomery does wind up on the Miller farm upstate where they nurse him back to health.

Montgomery who got that police bullet because he made an unscheduled stop to pick up one of his bimbos, falls for country girl Maureen O'Sullivan. She's certainly the farmer's daughter in a part normally reserved for Janet Gaynor at Fox. The rest of her family are parents Whitford Kane and Elizabeth Patterson and kid brother Mickey Rooney.

I don't think I have to tell you too much more. Montgomery does well as the slowly reforming hood and he gets good support from the rest of the cast. Note down the list playing club owners and protection racket victims Henry Armetta, Herman Bing, and Douglass Dumbrille.

This one's a good comedy/drama, comedy provided by Montgomery's attempts to adapt to country living.

About handsome, smartly-dressed "Lucky" Wilson (played by Robert Montgomery), ladies' man and racketeer who spends his time hitting up successful New York nightclubs for "protection" money and at the same time hits on every blonde he sees (even when it means dumping the current blonde he's with). When a couple of smart cops get someone to spill the beans on his rackets, Lucky is forced to leave town in a hurry and head for a hideout, but he gets himself shot on the way out and ends up getting picked up on the road by a Connecticut farmer, who bunks injured Lucky in his quite lovely family home/farm. The kindly family proceeds to nurse Lucky back to health, but Lucky just wants to get out of there - until he meets the farmer's beautiful daughter Pauline (Maureen O'Sullivan). Soon he's feeding the chickens, milking the cow, picking cherries, chopping wood, and performing other farm chores (all dressed in his nice white shirt and jacket) all in pursuit of the girl. And the family has NO clue that Lucky is a criminal!

Very entertaining film, with excellent performances by all including Elizabeth Patterson as the charitable farm wife/mom, and a young Mickey Rooney as the boisterous little brother/devoted rabbit farmer. Robert Montgomery is, as usual, charming and oh so attractive, and quite good at playing this gangster type role in addition to his usual roving playboy type - plus he has a good deal of chemistry with Maureen O'Sullivan here. I enjoyed the story in this and found the whole film to be very enjoyable. Well worth seeing.

I've become a big fan of Robert Montgomery since subscribing to TCM and hit the jackpot when he was Jan. star of the month. This is my favorite movie - the thirties had certain boiler plate plots (like every other decade) with the couple caught in the rain, the man realizes he loves her and doesn't take advantage, etc. but he was at his most charming in this movie and Maureen O'Sullivan is my favorite of his co stars. Even with the thirties hair styles and clothes she is a real beauty who would still be considered beautiful today, unlike some of the ladies of that time. I'll take the predictable romance with boy getting girl over so many current movies that are all digital effects, the couples are in bed by the second scene and there is nothing left to the imagination. I'm a little too young to have seen him in his prime and the few movies he made after the war didn't make him a romantic hero to me. But now I'm older and have more taste.

After Robert Montgomery, a bad-boy gangster, gets wounded in a shoot-out, his cronies decide to do what's best for him even though he's protesting every step of the way. One of his pals knows a guy who knows a guy, and before he knows it, Bob's cooped up in a farmhouse in the country during his recovery. He complains and wishes he could leave, until the daughter of the house, the young and beautiful Margaret O'Sullivan, brings him a cup of tea. After that, he tries to stay as long as he can!

It's always fun to watch two beautiful people fall in love on the big screen, so if you'd like to see Mia Farrow's mom and Elizabeth Montgomery's dad in a romance, check this one out. It's very obviously made in 1934, though, so be prepared for an old movie. Cell phones weren't invented yet, jokes are made about how to milk a cow, and the idea of a really great date is to pack a picnic and eat among the great outdoors looking at a river. For my fellow old movie buffs out there, if you liked The Life of Jimmy Dolan, you'll probably like this one. Both center on a gangster hiding out with a nice farming family, who fall in love with the pretty daughter, and who are being chased by a hard-nosed, soft-hearted cop. The cop in Hide-Out is Edward Arnold, and the rest of the "aw shucks" family who soften up Robert Montgomery and help him realize he's got a chance for a better life are Elizabeth Patterson, Whitford Kane, and Mickey Rooney.

This movie is a good example of what happens when everyone's on their best behaviour, and the writing falls on the side of determined non-controversy. The time this was released was just on the cusp of the dispute over how much scrubbed up scenarios should be, in the mid-summer of 1934, the time the notorious "Code" was imposed.

Usually we might expect some kind of grit to a story about gangsters, but this one is so lacking as to make the whole thing too nice and sugary for its own good. We have Robert Montgomery here trying once again to be a tough guy, which he handles as badly as he ever does, starting out as a high-living, penthouse and nightclub set character in evening clothes, who shows himself to be a complete jerk to his several girlfriends, and goes to a nightclub only to shake them down, imposing his gang's protection racket. Soon, he gets in trouble, the police shoot at him, and he escapes to be nursed back to health in the countryside by Hollywood's idea of what wonderful all-American farm families are like. Perhaps it is a concept of what such families wished to see itself being like, but they are so pure hearted and wonderful that they take in a stranger and never press him too hard about who he might be, this guy in a tuxedo with a deluxe car and a bullet wound.

The bulk of the film is all about getting to see how cute it is to see the big city slick meet the country hicks, making adorable misassumptions about farm life and the animals found there. Sure enough, Montgomery falls into a very very proper love with the farmer's daughter, It would seem, to contrast his earlier attitude toward women, and Maureen O'Sullivan, earnestly trying to sound like an American. The son is Mickey Rooney, who instantly has a friendship with Montgomery. A memorable moment is when the family surprises Mickey at the supper table by serving their new company his pet rabbit, now become Hasenpfeffer. He breaks down in tears, but perks up again when Montgomery promises to get him a hunting gun.

All this comes to an end when the police, finally on his trail, come to the house, and Montgomery quickly tells the plain clothes cops that he'll go quietly if they play along and pretend they're his old pals with a business deal for him. And then follows a far too long goodbye, as he gets such a scene with every one of the farm family, all intended for weepiness in the audience, but it's as unconvincing as the bright excuses for light comedy before it.

Did they have high hopes for this film? That it has nothing but stock music, might indicate not, yet it was nominated for an Academy award, so would tend to show that it was just right for the moment.

Cute little B film from MGM in 1934 stars Robert Montgomery as a sassy hood in the nightclub rackets who flees the city after being wounded in a shout out. He lands in the wilds of Connecticut on a farm where lovely Maureen O'Sullivan is languishing. Predictable but well done.

In a role that might have been meant for William Haines, Montgomery shows his comic skills as the city slicker who has never heard a cow or seen a chicken. O'Sullivan in a rare starring role is very good as the farmer's daughter. The rest of the supporting cast is also quite good here: Elizabeth Patterson as the mother, Edward Arnold as the cop, Mickey Rooney as the kid brother, Herman Bing and Henry Armetta as the flustered nightclub owners, and Muriel Evans as the floozie. Also look for Douglas Dumbrille, C. Henry Gordon, Edward Brophy, and a funny spot for Harold Huber. Whitford Kane plays the father but I never heard of him.

No great shakes but pleasant throughout with a nice ending.