Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

It's an amazing and heartbreaking story.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

The film never slows down or bores, plunging from one harrowing sequence to the next.

As a pre-Code it has progressive ideas but by omission. Is she a party girl or just a lady out for fun chasing dangerous men? The plot and characters are fine and similar to many films of it's time and era, but for my money it all blossomed when Myrna lit-up the screen. Wow, that woman had presence and sex appeal! So I half-heartedly recommend it if you're a fan of the era or Miss Loy. And maybe if you expect less you'll find it better than I did. For me there are nearly 20 Myrna Loy titles I like much better. And Warner Baxter is better in his limited range. Spoiler: And the convoluted ending with the cops helping goes just too far.

..... maybe it's her breezy insouciance, her light hearted way with a line or her captivating beauty. Whatever it is, she is the reason to remember this movie. After years of apprenticeship, including a stint as Anna May Wong's greatest rival she was finally coming into her own as a unique player full of charm and individuality. But by 1933 Mae Clarke must have finally realised that stardom was never going to be hers although she continued to give strong note worthy performances - just a little lower down the cast lists.When dazzling lawyer Jackson Durant (Warner Baxter) refuses payment for getting off notorious gangster Tony Gazzoti (Nat Pendleton) saying he did it just for fun, his staid law partners are not amused. Gangsters, chorus girls and boot leggers excite him more than drawing up wills for little old ladies wanting to leave their fortunes to their pets but his partners don't share his views and so he is let go. He is also given the cold shoulder by most of his society friends - all except Tom Siddal (Phillips Holmes), and his fiancée calls off their engagement. This suits Tom as he has been in love with Sue (pretty Martha Sleeper) for years but has to break off with his mistress, Mimi (Mae Clarke who was actually dating Phillips Holmes at the time) first and things don't go smoothly.Next thing, Jackson is visited by Sue who begs him to take up Tom's defence. He has been charged with the murder of Mimi who has been shot on the roof of the penthouse. You can't mistake this movie for any other than a pre-coder - the chemistry between Warner Baxter and the alluring Myrna Loy (well she really tries to make the chemistry happen, even though she spends most of the movie in this awful evening dress with a huge floppy bow in the front!!). She plays Gertie, Mimi's best friend and maybe the key to solving the murder. To pick her brain, Jackson has Gertie stay at his apartment, they even have matching pyjamas but she can't hide her disappointment when he directs her to the spare bedroom!! He says "I'm afraid you'll think I'm taking advantage of you" She says "I'm afraid you won't"!! He also says "I've been very stupid" to which she replies "Of course, you're a man"!!!All roads lead to Levitoff, a shifty pawn broker who seems to have his finger in all types of criminal activities as well as owning the building where Jackson is convinced the gun was fired from.Phillip Holmes was an actor who had had some build up in the very early 1930s but by now was playing very supporting roles of callow youths eg "Beauty for Sale". His role in "Penthouse" was more of the same with just more depth, even though he disappeared from the film quite early.

"Penthouse" is a first-rate example of "they don't make 'em like that anymore." The tale of a society lawyer turned criminal defense attorney -- out to prove the innocence of the accused murderer who waltzed off with his fiancée -- zips along. The dialog of the fabled Hackett-Goodrich team is sassy and clever. The relationship between lawyer Warner Baxter and Nat Pendleton as the racketeer who's his guardian angel perks up the plot. But it's Myrna Loy as the call girl who joins forces with Baxter to nail the real killer who shines. There are certain people the camera finds irresistible. And here, as the most lovable fallen woman of the pre-code era, Loy demonstrates the impish allure that would light up the screen for years to come.

There is lots of entertainment value in this picture - quality acting, sharp dialog, quick pace - but those who are looking for a story based in realistic circumstances may be disappointed. Despite there being a goodly number of unsavory types among the characters, just about everyone comes across as clean-cut, friendly, ready with a smile, and not the least bit threatening. This takes the sharp edge off a picture with lots of promise in its early development. Nat Pendleton plays a crime boss as if he hasn't a care in the world, more than ready to use his resources to make others happy. The Myrna Loy character is appealing (much as her Nora Charles was), but defies explication: charming, intelligent, well-mannered and well-spoken, but content to serve the paying customers as a hostess/bar girl/prostitute. It just doesn't add up. Mae Clark, as a less refined colleague, is much more believable.[Don't fail to notice the latter, in a fit of anger, ready to throw a perfume bottle against the wall, then noticing the label and substituting a lesser brand; or Loy, keeping her composure as Warner Baxter chooses not to remain in her assigned room for the night, then immediately surveying her looks - right profile, left profile, hair, makeup - in a mirror, wondering if something has been lost.]The picture needs more grit, given its subject matter. Comic relief from Charles Butterworth and Tom Kennedy are just what it doesn't need.