I like the storyline of this show,it attract me so much

I don't have all the words right now but this film is a work of art.

Clever, believable, and super fun to watch. It totally has replay value.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Here's a genuine find! This film was actually based on a stage play (not a story as most references have it). Admittedly, this stage origin is not readily noticeable, even though very little attempt has been made to open it out. The reason the movie succeeds so well, lies in the super-fast and most ingratiating manner in which the players, particularly William Powell, deliver their clever, witty lines. Miss Francis does reasonably well too, although she is no match for Powell and is even overshadowed by Henry Kolker (I loved his amusing bit with the ring in his mouth) and Spencer Charters (who – in one of the biggest roles of his career – so delightfully plays a dumb night-watchman). Dialogue director William Keighley's insistence on fast dialogue delivery is matched by the equally fast camera movement demanded by director William Dieterle. Crisp film editing and some wonderfully Germanic lighting and atmospheric sets all contribute. In fact the movie often has a real European look about it. Best of all, it runs less than 80 minutes, and there is not a single slack moment from go to whoa.

The team of Kay Francis and William Powell had been established at Paramount studios with a handful of pre-code films made in the years prior to their arrival at Warner Brothers in 1932. Long before Powell established a teaming with the dark haired Myrna Loy, he had the equally dark-haired, widow peaked Francis, and ironically, their two best films were their last. "Jewel Robbery" and "One Way Passage" remain two of the greatest pre-code films of the early sound era, with "One Way Passage" a classic tear-jerker that even got a Carol Burnett spoof and "Jewel Robbery" a great companion piece with another film that Francis made that year at Paramount, the elegant Ernst Lubitsch comedy "Trouble in Paradise". While "Trouble in Paradise" is often named among the best comedies of the 1930's, "Jewel Robbery" was nearly forgotten until an appreciation of these films exploded through frequent showings on TCM."Jewel Robbery" shows Kay Francis at her most winsome, a fun-loving but bored socialite, married to an older man (Henry Kolker) whom she complains about having gout, but longing for adventure, she had better be careful about what she wishes for. On a routine shopping trip to her favorite jewelers, she is present when Powell makes his entrance and holds her and several other customers hostage. Powell, however, is as sophisticated and urbane as the customers, and deals with the nervous shop owners and other customers by offering them a special cigarette which immediately calms them down. That cigarette, never mentioned by its real name, proceeds as Powell says it will, to make them sleepy and later very hungry. Later, the store manager smokes it and begins to think he's Napoleon. Now if that ain't the "pot" calling the kettle black....Excited by this brief escapade, Francis isn't thrilled however by the theft of her own jewelry which she later discovers hidden in her safe! Powell makes his presence known, and their love making imminently follows. But Francis is obviously not going to give up her baroness title without a struggle, and this leads to her plot to have a rest away from all of this so she can continue her liaison with Powell without being caught. Socialite pal Helen Vinson becomes her confidante, while the naive Kolker never suspects a thing. Clarence Wilson, the eagle-beaked character actor who always played skin-flint bankers or unlikable authority figures, has a ball with his part which shows him higher than a kite, bringing on major laughter.To add to the comedy, there's Hardie Albright as Powell's right-hand man and Ruth Donnelly as the distracted maid. Francis gives one of her most light-hearted performances, squealing in delight over a bubble bath and even giving a few asides to the audience as if winking at them for being in the know of her secret intrigues. Powell is perfectly cast as the elegant scoundrel, making him so likable that you really want to see him getting away with all his nefarious deeds. This is what makes pre-code cinema so much fun is that these really likable characters got away with sin, and nobody judged them because they really rooted them on.

There isn't one sub-standard frame in this delightful romp; it oozes sophistication and could have been made a good decade later than it was. It doesn't get better than Kay Francis and William Powell - and the very next year Powell would team up with Myrna Loy for the first in the Thin Man franchise - who both walk on air through this soufflé which is perfect in all departments starting, of course, with the script by Sampson Raphaelson, albeit adapted from yet another - Liliom, The Shop Around The Corner - Hungarian playwright, through the direction of William Diertle to the brilliant playing of Powell and Francis with first-class support from the rest of the cast. A gem of a jewel robbery.

Jewel Robbery (1932)If you haven't seen why Pre-Code films are a riot—and very very well made— watch this one. Here the sassy, sexy, glammed up heist of a jewelry store becomes a game of manners and courtship. Jewels do in fact get stolen, but that's so not the point of the movie. Centerpiece is William Powell, the superstar status still to come with his "Thin Man" and "Godfrey" roles. He's in top form, always a bit peculiar but really lovable and suave because of it. One of a kind.Equal to him is Kay Francis, who is alive on screen like few actresses, and a great foil to Powell's cool. If Powell is still famous, Francis is not, and the reasons are not clear. (She was labeled "Box Office Poison" in a famous 1938 article, but that same piece labeled Joan Crawford and Kate Hepburn as well, both of whom had hardly begun their mature careers.) But Francis is a wonder in her heyday and you may as well start here to get why. (She was for years in the 1930s the highest paid actress bar none.)So if you aren't convinced to see this yet, take the set design, the tightly engineered photography and editing, and the overall direction by William Dieterle, who is an underrated master of the classic Hollywood years. Again, just see this for proof. As for the Code and its effect here, listen to the banter, which is fast and loaded with double entendres. No one skips a beat, and the fast swirl never gets confusing. Really a remarkably packed 70 minutes.