Prudence avec les femmes

This is one truly lame, incredibly awful film, vapid and empty, with terrible characters, none of whom add anything at all to the ridiculous, nonsensical story! The only reason I watched this film was to see Marjorie White. She's only in one or two scenes near the beginning, then gone, her character is completely undefined,, she's just an extra. But Bela Lugosi meowing like a cat, and El Brendel picking his nose, come on now! And those two entirely talentless Vaudevillians Maglaglen & Lowe, either of them is forgettable on his own, but the two of them teamed together make Wheeler & Woolsey look like the Barrymores! Just Plain bad!! I'm really surprised to see something this poor come from from famed director Raoul Walsh, it's more suited to Ed Wood or John Waters!! (Obviously not one of his best efforts!!) Z-grade shlock on the minus scale of rating, what waste of good celluloid!! It's rumored that Humphrey Bogart was in it, but his scenes cut out at his own expense, he realized it ws so bad he wanted nothing to do with it, so as not to ruin his career! A one-word review: NO!

I like another reviewer i watched this for Bogart, sadly he was not even in it, why? well because he thought the film that bad it could ruin his film career and so threatened to buy all copies and have them burnt so they could not be seen. The scene with Bogart was pulled and the film released and it really is a very slow, plain print.

It is a very early film and only just on the cusp of talking movies from the silent era, you will see this as during the film we still get the writing boards explaining parts of the script and you get the feeling it is in fact a silent. I will say that if this were stripped of sound and a few more directive posters during the film it could work. Maybe watch it first with sound then without to see how it is then.

The film itself is short and about two chaps surviving the war and after some time in New York they travel to Sweden and other countries and seek affection of Elsa. its not so much slapstick but its comedic of sorts.

If your here to see Bogart hes not in it, if you want a busy film its not, if you want a film to while away the afternoon after a nice roast dinner and nap then stick this one on.

The film depicts the picaresque adventures of career Marines Sgts. Quirt and Flagg, played by Victor McLaglen and Edmund Lowe and directed by renowned helmsman Raoul Walsh. Because it is so episodic, it does tend to drag somewhat and, yes, Bogart's scenes were left on the cutting room floor. But, it offers Bela Lugosi an excellent supporting role as Prince Hassan in the last segment of the film, who catches Quirt and Flagg (as well as comedian El Brendel) invading Bela's harem to assignate with his #1 sweetie, played by the lovely Norwegian blonde actress Greta Nissen. Lugosi gets to ham it up in a comic vein, speaks some Hungarian and meows like a cat to try to catch the three rapscallions and in general livens up the proceedings. Not to mention that for those of us who are his devotees, he looks rather luscious in his Middle Eastern duds.

I took a look at this just because it is an early Bogart film. Bogart's part got left on the cutting room floor so he isn't even in the film although he is in the credits. The film is really boring, isn't funny, (though it is a comedy) and is a complete waste of 72 minutes.

The 1926 silent "What Price Glory?" introduced Victor McLaglen as Captain Jim Flagg, and Edmund Lowe as Sgt. Harry Quirt, fellow marines who become friendly rivals, especially where there are women involved. The team was so popular that they repeated the roles in 1929's "The Cock-Eyed World," 1931's "Women of All Nations," and 1933's "Hot Pepper" (plus cameos in the 1931 2-reeler "The Stolen Jools"). Judging by the evidence on screen, the viewer may wonder why another sequel would have even been considered, as "Women of All Nations" meanders from one character to another, the endless banter between the two stars quite tiresome, especially the third wheel, El Brendel (the two year gap between films seems to have been a major factor). Among the unbilled performers who provide the only sparks, we have (all too briefly as a hoochie coochie dancer) the vivacious blonde Marjorie White, diminutive dynamo of early musical comedy (particularly 1933's "Diplomaniacs"), whose life was tragically cut short by a fatal car crash in 1935 (her last film was an early Three Stooges short, "Woman Haters"). But the most famous name belongs to Bela Lugosi, a frequent player at Fox Studios prior to "Dracula," shot just as his Dracula saw release in Feb 1931. As Prince Hassan, he indulges in stock villainous poses, threatening the lives of our two heroes for daring to making love to his favorite wife. The trollop has the audacity to hide both men in her boudoir (with El Brendel just outside), while the Prince slowly becomes aware of just how many suitors she has as all three indulge in catlike meows! Lugosi was no stranger to Marjorie White, as they later appeared together in "The Black Camel" and "Broadminded" the same year. Lugosi would also see more of Edmund Lowe, in 1932's "Chandu the Magician," 1934's "Gift of Gab," and 1935's "The Best Man Wins," while Victor McLaglen would get top billing over Boris Karloff in 1934's "The Lost Patrol" (Raoul Walsh would direct Karloff in "The Yellow Ticket," in the summer of 1931). Bela would return to Fox for "Chandu the Magician," 1933's "The Devil's in Love" (his last unbilled role), and 1939's "The Gorilla."