Highly Overrated But Still Good

disgusting, overrated, pointless

The film makes a home in your brain and the only cure is to see it again.

One of the worst ways to make a cult movie is to set out to make a cult movie.

...who spent so much time over at RKO playing the sweet young thing. Dee plays the catalyst of the entire story, even though, sometimes, you won't even know what she is up to.The main character, however, is George Bancroft as Bill Bailey, a bail bondsman and PR man extraordinaire. It shows how well connected he is as just about every criminal in town has bail through Bailey. He knows the attorneys, the judges, and most of the underworld. He carries around cigars that say "Bailey For Bail" on them. It's mentioned later that he was once a cop that got thrown off the force for graft, and even though he's a gray character, he plays this like Popeye - "I am what I am", and you know something, I liked him. I liked him because he was on the level about who he was and what he did. He has a girlfriend (Judith Anderson as Ruby Darling) who seems to be a madam, maybe not, but for sure runs an upscale saloon complete with torch singers. And she, like Bailey, "is what she is". She does not pretend.And then a different kind of customer walks into his establishment - socialite Elaine Talbart (Frances Dee), arrested for shoplifting, and hands him a six thousand dollar ring as collateral for much smaller bail. She claims the whole thing is a big misunderstanding (it is not). At first Bailey is just intrigued because her family is so wealthy, but soon he is falling for the girl. However, Elaine's big downfall, and the downfall of everybody she encounters, is that she is a spoiled brat who is addicted to excitement and danger. And THAT is why she starts a relationship with Bailey. He shows her a side of life she has never seen before.One more thing, towards the beginning of the film Ruby's baby brother gets out of prison. Nope. There was no mistake. Her little brother Drury is a thief and probably will always be one. He doesn't like violence, he just likes money and isn't partial to hard work.And then one day at the races when Bailey is with Elaine, over walks good looking Drury, and when she finds out his past she gets a twinkle in her eye...a ticket to even more excitement! Boy, has she got that right because Drury is about to pull another bank job. When he skips town with Bailey's bail and with his girl, it starts warfare with Ruby and the underworld on one side and Bailey, who realigns himself with the police, on the other side. The thing that nobody knows is that the act of betrayal that starts it all is caused by a decision Elaine makes unilaterally. How does this all work out and what was that decision? Watch and find out. I'll just say that the end of this film was a blast.There are some great individual scenes in this one that are strictly precode - at Ruby's, Bailey offers a gentleman a cigar, "he" turns around and turns out to be a woman in a man's suit. She takes a puff of the cigar and says "you big sissy!". Bailey busts out laughing. A woman comes into Bailey's office with a boy about 15 and wants to put up his bail. She says "her boy is a good boy". Bailey asks what the charge is and she says "assault" - that was code for rape in even the precode era. Bailey asks how old the girl was, and the boy says 38. Bailey laughs at the thought - a thought that would not be funny today. Finally, a woman runs screaming out of a building claiming that a man advertised for artists' models, she showed up, and he attacked her. Elaine asks where is the artist? The woman points to an office, and Elaine grabs the ad and walks deliberately towards the office. Hot stuff from Fox, a studio not usually associated with precode stuff.

This is another case of a film that turned out to be different than I had expected: in fact, I thought it would be a gangster picture – which is why I watched it following 2 Josef von Sternberg genre entries that happened to feature the same star, George Bancroft! Still, it does concern a racket of some kind – since the protagonist is a leading bail-bondsman with an ability to pull strings where and when required (if anything, this was an area of work which was hardly ever touched by cinema and certainly not at this point!).The film came at the tail-end of the "Pre-Code" era, but it offers plenty of salacious elements – notably a gratuitous semi-nude Hawaiian dance and the uninhibited character of Frances Dee (which she herself described as "a masochistic nymphomaniacal kleptomaniac"!). Ironically, the lovely actress – soon to marry Joel McCrea and perhaps best-known for the Val Lewton/Jacques Tourneur horror classic I WALKED WITH A ZOMBIE (1943) – had just come off something from the opposite end of the spectrum, the David O. Selznick/George Cukor adaptation of the literary classic LITTLE WOMEN (1933)! Anyway, as had been the case with all 3 Bancroft vehicles I watched prior to this (there was also yet another Sternberg title, albeit not genre-related), he is played up to be something of a ladies' man (whereas a review of THUNDERBOLT [1929] had described his physical appearance as "repellent"!) but, at least, here he eventually settles down with someone closer to his type and age i.e. Judith Anderson in an early – and atypically glamorous – role (she is the owner of a speak-easy which comes equipped with a chanteuse whose vocal range takes in both Mae West and Al Jolson!).Another important character is Anderson's younger brother, an unrepentant criminal whom Bancroft is often required to bail-out for the woman's sake. However, the situation is complicated when Dee (another of the hero's clients) enters the picture – Bancroft neglects Anderson for her but, after she meets the "exciting" young man herself, begins an affair with him behind her 'protector''s back! In a complex turn-of-events, the protagonist himself becomes a pariah and is marked for death (via an exploding billiard-ball a' la Buster Keaton's SHERLOCK JR. [1924]!) by the city's gangland factions – with Anderson's consent! – but, ultimately, she sees the error of her ways and races against time to stop the attempt (suspense is admirably built here through cross-cutting, with her car even getting involved in a wreck!). The finale sees the two getting back together…while Dee bumps into a girl who had been practically ravaged by her proposed employer when answering an ad and, ever a glutton for punishment, she takes up the call herself! Finally, this is the first of 3 pictures by Rowland Brown (who seems to favor shooting from odd angles!) I will be watching over the course of succeeding days – the others are the thrillers QUICK MILLIONS (1931) and HELL'S HIGHWAY (1932); incidentally, he would make another film with Bancroft i.e. the gangster milestone ANGELS WITH DIRTY FACES (1938) – by which time, however, both had been demoted: the director to co-scriptwriter status and the star to a supporting role!

This is an excellent gritty thriller - just the sort of film you associate with George Bancroft. He plays Bill Bailey, a larger than life bail bondsman and a celebrity among high society and the criminal element. "I make my money off losers" - he makes his money extortingassets off his clients. In one of the first scenes an elderly woman comes to him about helping her young son, once he realises she owns her own house he gets her to leave the deeds with his receptionist. He is that kind of a guy!!!His lady love, Ruby Darling, is played, extraordinarily, by Judith Anderson - she owns a speak-easy, but they have known each other for a long time and are more like husband and wife. She helped him get to his present position of power. She also has a criminal brother, Drury (Chick Chandler), who has just been caught for a bank robbery - if he is found guilty he will go to jail for life on the 3 strikes you're out plan.The big reason to see this film is Frances Dee. She is just a sensation as the "drop dead gorgeous" socialite, Elaine Talbert, who first comes to Bill's attention when she is caught shop-lifting at a big department store. Bill falls for her but it is quite clear something is wrong - she gets a crazy gleam in her eye when she hears about all the crooked things he has had to do in his line of business. You just know when she meets Drury that she is going to fall for him in a big way - after all he has just masterminded a daring bank robbery. Her views about how she likes to be treated by men raise a few eyebrows as well. Nymphomaniac, sado masochist, there is nothing that Elaine won't do - and Frances Dee pulls it off with aplomb. She had already given a superb performance in "The Silver Cord" as a young girl tottering on the brink of madness. It is a pity she was soon to wind down her career in favour of marriage to handsome Joel McCrea but she definitely left some wonderful performances. Because Elaine double crosses Bill (keeping the $50,000 bail money and giving him worthless bonds in exchange) it looks like he has left Drury high and dry so Ruby organises some of the mob to destroy him. She realises her mistake at the end and madly hurries down to the pool hall to save his life (the eight ball has been filled with enough explosive to kill him). Being a pre-code you don't really know what to expect. The real ending is a scream. Elaine, hurrying to Bill after being thrown over by Drury, meets a girl who has been enticed to a man's room with the promise of modelling work. "He threw me around, he bruised my arms and really roughed me up" - Elaine's response "What's the man's name and what room is he in". The gleam in her eye leave you in no doubt that she definitely does not want to report him!!!By the way the girl who is socked at the beginning - "Red's" girl - is the beautiful Noel Francis who played sultry vixens to perfection!! Blossom Seeley, a legendary singer of the time, sings "Frankie and Johnny", "On San Francisco Bay" and "My Melancholy Baby".Highly Recommended.

"Blood Money" is a fascinating precode - what else can you say about a film that has Judith Anderson in a glamor role? And an ingénue who longs for S&M to boot.This 1933 film concerns a bail bondsman named Bill Bailey (George Bancroft) who's been helping out the mob for years. He falls for a pretty shoplifter named Elaine (Frances Dee) - she's actually slumming, as she's from a wealthy family. This leaves Bailey's girlfriend, club owner Ruby (Anderson) in the lurch. She's the woman responsible for his success, helping him out when he was thrown off of the police force. However, Elaine (who would follow any man who thrashed her around like a dog, says she) steals some bonds instead of delivering them to the appropriate place, thereby setting up Bailey as a mob target and getting his brother-in-law in deep trouble with the law. Ruby believes he's responsible for her brother's problems, and has a hit put out on him.The acting is over the top, the dialogue is rough and filled with sexual innuendos, the atmosphere is sleazy - it's pre-code all right. I read a transcript of an interview with Joel McCrea (intended to be for a biography that wasn't written) and he kept referring to "Mother" - I finally realized that he didn't call his wife, Frances Dee, "mother" - he was referring to her that way while talking to one of his sons, who was conducting the interview. As the promiscuous, dying to be hit ingénue, she wasn't very motherly in this.This is a no-miss if only to see Judith Anderson in a gown and jewels hanging out with mobsters and Frances Dee as something other than a pretty goody-two-shoes.