Blondie Johnson

When the story begins, Blondie Johnson (Joan Blondell) is broke and destitute. However, instead of waiting and hoping things will get better, she decides to take life into her own hands and devote herself to a life of crime. However, she's not looking at any petty crimes but wants to be a crime boss....something pretty much impossible back in 1933. And, after connecting up with Danny (Chester Morris), she begins her rapid ascent to the top. But there's one problem in her future....no matter how she tries to become tough and hard-bitten, she's still a lady.

This is generally a very good film. However, the ending portion disappointed me because up until then, Blondie was a good character...but at the end she inexplicably grows a heart. Inconsistent....but despite this it's still worth your time if you like classic films.

Joan Blondell is poverty stricken, but determined to survive, in "Blondie Johnson," a 1933 Warner Brothers film also starring Chester Morris, Allen Jenkins, and Sterling Holloway.

Blondie (Blondell) and her sick mother are not considered hardship cases. They live in the back of a store, Blondie can't find a job, and her mother is in need of care. After being denied funds, she returns home to find that her mother has died in her absence.

She decides she's waited long enough for something good to happen. She's going to make things happen, but she's going to use her brains, not her body, to do it. The next time we see Blondie, she's all decked out after working in a dance hall. She takes a cab ride and she and the driver (Holloway) work a scam that nets them a tidy sum at the end of the night.

Unfortunately one of the people they worked it on is Danny Jones (Morris), a racketeer, and he catches her in a Chinese restaurant, which is not exactly the hospital she claimed she was headed to for work. They team up, with Blondie having ambitions toward being a crime boss.

Good movie with the always delightful Blondell and likable Chester Morris. The end of the film is jarring; it's abrupt and different in tone from the rest of the movie. Still, it's a quick-paced, well acted film.

In this before the Code drama Joan Blondell steps into Barbara Stanwyck territory playing a woman who we see rise to the top of the rackets and is pretty ruthless about it. As the film shows us Blondell had it pretty rough as a kid and now she's going to acquire the only thing that matters in this life, money.

Along the way she teams up with another racketeer played by Chester Morris on loan from MGM who's also not a squeamish guy, but wants to settle down with Blondell as long as he leads when they dance. Blondell is not about to let anyone else lead in her life.

I'm surprised this film is not better known if for no other reason than the acclaim that Blondell has received for her performances in those Warner Brothers gangster films. Usually she's just a leading lady for James Cagney etc. but her she's the lead, it's her film and she makes a fine job of it.

If TCM ever broadcasts this, don't miss it. A must for Joan Blondell fans.

Even though "Crime Does Not Pay" is the message here, Joan Blondell and Chester Morris play the wisecracks with style. Definitely a feminist slant to a story of a woman crime-boss wannabe who refuses to have sex with her co-workers. Entertaining and involving (I joined the heroine in her desire to save her frontman from the hitmen's bullets), although the ending was a little hard to take. Good stuff from Sterling Holloway as a friendly cab-driver.

"Blondie Johnson" is a marvelous piece of film fun, made just before the era of the speakeasy was to conclude. As recounted in other reviews, the story is engaging and is a so-called "gangster movie" with a difference. The fun dialog goes on relentlessly with generous helpings of stellar interactions. This movie contains, additionally, an eye-boggling march across the screen of sparkling Art-Deco interiors and Depression-era fashions. The cast is comfortably familiar to movie buffs, with Joan Blondell demonstrating that she could do plenty more than just look beckoningly doe-eyed with those expressive eyes of hers. In the early 1930's she was often merely just a bubbly presence, but in this film she skillfully hypnotizes the willing viewer with plenty of varied emotion and determination, demanding recognition as a fine actress. In sum, this film is a treat for us movie fans of early WB and First National pictures, just as the studio began to create films containing confident fluidity of exposition. Highly enjoyable!