JohnHowardReid Joan Blondell (Blondie Johnson), Chester Morris (Danny), Allen Jenkins (Louis), Earle Foxe (Scannel), Claire Dodd (Gladys), Mae Busch (Mae), Joseph Cawthorn (Lord), Olin Howland (Eddie), Sterling Holloway (Red), Toshia Mori (Lulu), Arthur Vinton (Max Wagner), Donald Kirke (Joe), Tom Kennedy (Hype), Lloyd Ingraham (judge), Maurice Black (Tony), Sam Godfrey (Freddy), Betty Jane Graham (child), Eddie Kane (jewelry assistant), Charles Lane (cashier), Walter Long (Artie), Rolfe Sedan (tailor), Ben Hall (newsboy), Tom Wilson (Swede), Sam McDaniel (porter).Director: RAY ENRIGHT. Uncredited direction: Lucien Hubbard. Original screenplay: Earl Baldwin. Photography: Tony Gaudio. Film editor: George Marks. Art director: Esdras Hartley. Gowns designed by Orry-Kelly. Music director: Leo F. Forbstein. Dialogue director: Stanley Logan. Associate producer: Lucien Hubbard.Copyright 13 February 1933 by First National Pictures, Inc. Released through Warner Brothers Pictures, Inc. New York opening at the Strand: 26 February 1933. 67 minutes. SYNOPSIS: A gangster tries to prevent a female go-getter from muscling in on his rackets.COMMENT: In this typical Warner Brothers exposé of the depression- ridden early 1930s, the script blames the lack of compassion in society at large and the unwillingness of both church and government to do anything about remedying social conditions, for the rise of organized crime. The brief portrait of the mealy-mouthed priest is especially telling. No other Hollywood studio would dare paint a cleric in such an unflattering light. Having set the scene, the rest of the film is fast-paced action, interspersed with a bit of romance, right up to the illogical and somewhat startling cop-out conclusion (which seems to have been added as an afterthought). All the players impress with their realism, but I was particularly struck by Joan Blondell, Allen Jenkins (in a serious role), Joseph Cawthorn (using his real voice and not the "funny" accent), Claire Dodd (gorgeously gowned by Orry-Kelly), Arthur Vinton (the menacing overlord), and Mae Busch. Aside from the unexpectedly light conclusion, director Ray Enright doesn't put a foot wrong. Definitely one of his better films!

utgard14 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.

LeonLouisRicci 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.

Sleepy-17 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.