The Tip-Off

A radio repair man becomes involved with gangsters when he repairs the set of a championship boxer. Enjoyable comedy starring baby-faced Eddie Quillan and a very young Ginger Rogers. Quillan was being built up to become a major star when this was made, but it never happened for him, even though he's likeable enough. It's Robert Armstrong as the nice but not too bright boxer who constantly needs his long-suffering girlfriend Rogers to find the right word he struggling for who makes the biggest impression. Joan Peers is also enjoyable to watch as Quillan's love interest

Radio repairman Tommy Jordan (Eddie Quillan) finds himself in all kinds of hot water. First he saves dim-witted boxer Kayo (Robert Armstrong) from gangster Nick Vatelli (Ralf Harolde), endearing him to Kayo but making an enemy of Nick. He further enrages Nick when he moves in on the gangster's girl (Joan Peers). Now Tommy's life is in danger and he must turn to Kayo and his spunky girlfriend Baby Face (Ginger Rogers) for help.

Nice little gangster comedy with a likable cast. Quillan's good but Armstrong and Rogers steal every scene they're in. The movie loses steam when they aren't around.

Ginger Rogers was quite young when she acted in this film, but she already had two years of film experience under her belt. Here, she plays Babyface, girlfriend of a boxer named Kayo (played by Robert Armstrong) who is the extremely jealous type.

The film's protagonist is Tommy Jordan (Eddie Quillan), a likable guy who repairs radios for a living. Babyface seems interested in Tommy, but he wants to steer clear of her, fearing Kayo's wrath. Kayo actually takes him under his wing in a protective sense.

Tommy has the questionable luck to fall in love with Edna (Joan Peers) who is the reluctant object of Nick Vatalle's (Ralf Harolde) affection. Nick is a fight manager and all-around thug.

Near the end of the film, when you think they are going to lay a moral on you about the big city or crime and prohibition, everything turns out jake. But we kind of knew that, because this film is more comedy than crime.

This group of actors is fun to watch. Recommended viewing for fans of Ginger Rogers especially.

I'm not really sure why, but Eddie Quillan was a reasonably popular leading man back in the day. While he didn't make too many pictures for big-time studios, he had steady work for years...even though he seemed like a likable pipsqueak and not exactly leading man material. And, while none of his films were great, they were, for the most part, agreeable.

In "The Tip-Off", Tommy (Quillan) is a radio repairman who becomes good friends with a nice but dopey boxer, Kayo (Robert Armstrong). Kayo's girlfriend is Baby Face (Ginger Rogers) and the pair have taken Tommy under their wings. Because of that, when some gangsters have it out for Tommy because he was seen with a hood's girlfriend, Kayo wants to help. And, if someone doesn't do something, Tommy's about to become an ex-radio repairman!

This film ends very well and it surprised me. The savageness of the big fight scene was a bit shocking but well done. Overall, an enjoyable if slight movie.

Radio repairman Eddie Quillan finds himself in the bedroom of flirtatious 'Baby Face' (Ginger Rogers), the girl of quick-tempered middleweight boxer Robert Armstrong. Trying to fend off the charms of Baby Face, Quillan is soon in real trouble as he inadvertently steals away the reluctant fiancée of a real mob boss, one Nick Vitelli. Ironically, this comedy of errors proves completely unnecessary as we learn that Baby Face and her boxing boyfriend really do love one another in their bickering way while, with considerably less amusement, Quillan and his new girl also discover true love.

The Tip-Off is a nice, unpretentious comedy that makes good use of the gangster film that had come into vogue in the early thirties. Eddie Quillen is the star and gives a fine performance as our innocent yet courageous hero. Robert Armstrong also plays his usual lovable lug well. This was Ginger Rogers' first Hollywood movie (she'd already made five in New York) and it's probably the first time we can see her as her recognizable self (also the first time she uses her true voice, having stuck to the 'Betty Boop' vocal style to this point). With a lot of funny lines impeccably delivered, she gave clear indication of the great things to come.