The Good Bad Girl

Mae Clarke has the title role in this sob story about a well-intentioned woman who gets mixed up with a gangster and his troubles. When she wants to leave him, he lays down strict orders that he's the one who'll tell her when the affair is over.

Typical dialog has Clarke saying things like: "I'm a gangster's moll. I made a grab for happiness and it exploded in my face." That about sums up the meager plot.

Marie Prevost is the heroine's fast-talking, tough girlfriend who supplies most of the humor. James Hall is the man Clarke really loves and Robert Ellis is the gangster.

It's told in a brisk running time but comes across as little more than a fair programmer from Columbia but extremely dated.

Clarke is sincere and restrained as the woman who doesn't want to give up her baby, but it's strictly a routine melodrama with nothing new to offer. A weepie designated to reap tears from females especially.

There is nothing unpredictable in this hard-luck-story-programmer - But it is a great chance to see the talents of early screen talents Mae Clarke and Marie Prevost. Marie of the notorious, tragic, early death - It is not true that she had trouble with sound films because of a heavy regional accent: In fact she made a nice transition out of her dynamic silent screen persona into a sidekick with a heart a gold precursor to Joan Blondell - and though not an actress of depth, she has an appealing quality that is evident here. And then there's Mae - she is very easy to underestimate - but taking her performances in context of the times, she is in fact wonderful to watch - with a subtlety and directness that is well ahead of her time. A performer of excellent taste - here's a nice chance to see that talent on good display, albeit in a second rate vehicle.

Mae Clarke will always be remembered as the girl whose face James Cagney shoved a grapefruit into in the same year's THE PUBLIC ENEMY. She will not be remembered for this weird little story about a a hood's girl who finds that her past will always be with her.

In some ways, this looks a bit antique for 1931, almost as if you are looking at 1928's famously inert LIGHTS OF NEW YORK. But don't be fooled. Although Ted Tetzlaff's photography is still in the big scenes, there's lots of movement, indicating distraction to the moviegoers in the set-ups to them. But in competition with the fast-paced stuff that it seems that everyone was doing at Warner's, this attempt to bring the woman's viewpoint into the genre as a tearjerker doesn't work, nor is Mae Clarke the actress to carry the effort.

Films from the very early thirties needed a really good director otherwise they'd end up like this! This is and looks like a cheaply made "also ran" gangster picture from a director who didn't show he knew how to make a talking picture. To be fair to Roy William Neill, his budget was probably about $5 for this but even so, other people at Poverty Row studios made much more entertaining pictures than this.

He doesn't show anything different, imaginative or innovative. He turns what sounds an interesting story into something so boring you'll hate yourself for watching it. It just trapses like an unwelcome headache of grey monotone white noise through your brain.

The familiar story, the themes and the characters have all been explored much better in much better films than in this tiresome and clichéd colour by numbers z picture but it's not the actors' fault this is so dull, it's production quality. Take Mae Clarke, the star of this for example: in the same year this was made she was fabulous and led us all by the heartstrings in WATERLOO ROAD. She was also in the marvellous PUBLIC ENEMY and in FRANKENSTEIN. Two of these were directed by James Whale, the other by William Wellman - both talented and imaginative directors who knew exactly how to make great entertaining pictures with the advent of sound. Roy William Neil wasn't one of those super-talented directors of that era. Mae Clarke is given absolutely no personality in this. Whereas some other less than perfect directors made their films overly melodramatic, this guy does the opposite - there's absolutely no emotional engagement at all with our tragic heroine. Even in the most syrupy Helen Twelvetrees weepie you feel involved but with this you couldn't care less what happens to her.

There is however one, just one positive aspect about this and that's Paul Porcasi. He was one of the greatest "comedy" gangsters of all time. Robert Ellis, playing the other gangster however is almost as funny - but that's unintentional. His 'Dapper Dan' has to be the most unthreatening, pathetic gangsters ever to plague our screens. A perfect storm of appalling and bad acting make Dapper Dan almost embarrassing to watch. Marcia, our good bad girl decides to leave laughable gangster Dapper Dan for the usual clichéd rich guy on the other side of the tracks. This replacement boyfriend is apparently played by a different actor but since he looks absolutely identical and has as much acting ability, I think they may have scrimped a bit on their cast budget as well.

What recommends this film are the performances of Mae Clarke and Marie Prevost as best friends in this tale of a gangster's moll trying to go straight. They made two other films at Columbia and their rapport was the best thing about all of them.

Now what is not so good. Let's start with the male leads. Robert Ellis is playing a gangster (Dan Tyler) and Mae Clarke is his gun moll, Marcia. When the movie begins Marcia says she wants out. In spite of Dapper Dan's grim pronouncement as to what will happen if she dumps him, she seems unafraid and even indifferent. And no wonder. Dapper Dan is one of the most unthreatening looking and sounding gangsters of all time. And maybe it is the early sound technology and maybe it is not, but Dapper Dan appears to speak with a bit of a lisp that is unintentionally hilarious.

But Dan turns out to be not that dapper after all. He goes to collect a debt and shoots a debtor in clear view AND earshot of others. The police are after him for this very clumsily executed crime. In the meantime we meet the guy Marcia is supposedly nuts over and who is the marrying kind. He appears to be a younger and more honest version of Dapper Dan Tyler - same non descript appearance and also with a bit of a lisp. This has to be the recording.

So this really turns into a paint by numbers script where all of the gangster/bad girl trying to go straight/unsympathetic rich in-law tropes go to die. Oh, and of course a baby has to be in the mix.

What else is bad? All of the fat jokes hurled at Marie Prevost courtesy of the screenwriters. I guess it's supposed to be funny that she is overweight and yet is always nagging her much older boyfriend to lose weight. Not really. It becomes tedious and is probably there to take up space.

This was probably made as a very B- effort precode at poverty row Columbia, and it is worth seeing for the female leads. But of everybody in this film Robert Ellis probably had the closest thing to a happy ending. Out of film roles by 1934, he reinvented himself and became a successful writer and director of B list films over at Fox.