Blondie Johnson

Character actress/star Joan Blondell makes the most of Blondie Johnson, appearing first as a down-and-outer fired from her previous job because she wouldn't put out for the boss and then developing as an assertive, sassy, gang leader. She's is determined to get ahead in a man's world, and uses her snappy sense of humor, and both her sensitivity and her sensuality to move to the top and earn the respect of her fellow mobsters--simultaneously shooting for romance with (boring) Chester Morris.

After the film is over, it really doesn't seem like we've watched a gangster movie, simply because Warner Brothers knew how to be topical by suggestion, and in the period when this film was made, a good deal could be broadly hinted at that was frowned upon in later years: making money the easy way through prostitution, evoking fear in others through protection rackets, and particularly in this film, making a woman boss of the mob. It all looks like great, harmless fun. But after about 1934 and the Production Code, for most actresses it was back to domesticity and the kitchen for almost thirty years!

It's a zippy 67 minutes with a familiar Warner's cast, including silent star Mae Busch, the ubiquitous comedy relief Allen Jenkins, and as the "other woman," cynical Claire Dodd. Today there's more than enough menace in a gangster film, another brutal murder just around the corner, another bloodbath waiting; if there's any fun to be had, it's happening elsewhere. But once upon a time one could easily sit through an escapist double feature with this, essentially a gangster romp, as a starter, and perhaps an Edward G. Robinson or Cagney film as the longer main feature. Now you can enjoy this whenever you want a little break!

"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!

Almost a typical Warner Brothers gangster film but with an interesting twist. Someone at Warners realised two things: gangster movies made money and 'women's films made money - why not combine these two genres! Essentially this was conceived as a female version of Little Caesar which sounds like a terrible idea. It is however surprisingly not terrible - indeed, it's really quite good.

Although there's no innovative direction, spectacular sets or memorable moments, there's never a dull moment, you can empathise immediately with characters and it's totally engaging and immerses you completely into the depression-soaked urban America of the early thirties. What almost makes this a classic is Joan Blondell. Unlike with most of her films, there's no lingering shots of her rolling up her stockings or slipping into a negligee. Here she is totally believable as the woman who has climbed from absolute poverty to be the strong , respected leader of her organisation. She achieves this not through her sexuality but like Cagney and Robinson did, by her strong will and her brain. She manages to convey virtually every emotion known to man without defaulting into sentimental melodrama. Maybe this is not one of her more well known performances but it's definitely one of her best.

Here is a Pre-Code Gangster Movie with, wait for it, a Female Mob Boss. There is an Interracial Couple (Japanese/White), a Low-Cut Peek at Joan Blondell, and some Bullet Blood. That's about it for the Pre-Code Highlights although there is some Bedroom Banter that would Later become Taboo. A Friend asks "Blondie, why don't you give him a tumble?" for Example.

It's got typical Warner Bros. Snappy Patter and Chester Morris' forever present Dangling Cigarette is Stereotypically "charming". The Script Employs a Clever Con on a Jewelry Store, some Hard-Boiled Inner-Gang Violence and Always has Blondie with the Upper Hand.

Another Highlight in this Atypical Depression Era Movie is when Blondie gets Frisked by a Cop "Woman", She finds a small caliber pistol Tucked Away very close to a Forbidden Location, that even in a Pre-Coder is Rarely Referenced or given any Attention, and the Scene does not Shy away from the Search as the Dyke like Cop has Her Hands right where they don't Belong.

Worth a Watch for its Decisively Differentness and the Always Pleasing to the Eye Joan Blondell, where She, not Only Her Character, more than Holds Her Own with Her Tough Guy Companions.

... to quote James Cagney from Blonde Crazy as he tries to talk Joan Blondell into joining him in his con artistry. In this film though, Joan is the one who has the big ideas.

The film opens with Blondie Johnson (Joan Blondell) pleading with a relief agency for help. She is jobless - she actually quit her job because the boss kept trying to get physical - and she hasn't been able to find another job in months. She and her mother were kicked out of their apartment and into the rain, mom got sick as a result, and the both of them are living in a spare room in a store, but the department of health may kick them out at any time. The relief agency can't help, and Blondie returns to the store she calls home just in time to see a sheet pulled over mom's face. She gets sappy happy lips service from a priest about her situation, and all of this just makes her decide that from this point forward she is going for money the easy way.

A toughened Blondie pulls a series of cons, each getting successively bigger with bigger payouts. Along the way she meets Danny Jones (Chester Morris) actually somebody she conned who tracks her down. In spite of the initial mutual distrust, they hit it off. Danny works for big time gangster Max Wagner, and she and Danny pull some cons as part of his gang. Max doesn't like Danny's newfound independence - funny that he never realizes Blondie is the real brains and the real threat - and it becomes necessary to eliminate Max if Danny is to continue having a pulse. Blondie is now the actual head of the operation, but makes Danny the titular one, probably because she is a woman and figures nobody will accept that. But the success goes to Danny's head, he takes up with a gold-digging musical comedy actress (Claire Dodd), and thinks he doesn't need the rest of the gang who put him where he is. Complications ensue.

This thing has a totally downbeat ending that it really didn't need to have because the production code is a year away. I'd say don't watch this if you are into Joan Blondell's lighter entries, although it is well done and I always thought that Joan Blondell's best combination of films and performances was during the precode era at Warner Brothers.