Blondie Johnson

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.

Joan Blondell plays a down-on-her-luck lady who turns to crime. Specifically being a con artist. She hooks up with gangster Chester Morris and before too long she's leading the gang herself. Joan's really the whole show here. She's a big-eyed curvy beauty but she's also smart and tough as nails. She's impossible to dislike and gives an effortless performance. It's a good role for the period, playing a woman who uses her brains instead of her body to get ahead. Chester Morris is good but his part here isn't exactly Boston Blackie. His chemistry with Joan is lacking, as well. Allen Jenkins is fun, which should come as no surprise. Arthur Vinton, who plays a big shot gangster here, sounds just like Ralph Bellamy. I thought maybe my eyes were playing tricks on me. It's a good little gangster picture. Fans of the terribly underrated Joan Blondell will like it a lot.

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.

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.

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.