Blondell is the perfect match for Cagney. Both are brim-full of personality and feisty grit. Here they're sort of on-again off-again sweeties; that is, when Bert's (Cagney) not working a clever moneymaking scheme. Yes, it's the 30's favorite rags to riches guy working his way up from bellhop to globe trotter. Of course, in true Cagney style, he makes it by ignoring technicalities like the law. But don't expect tommy-guns blasting away. Instead, Bert's an up-and-coming con-man who both scams and gets scammed. I count at least four con-man schemes and maybe more, so you may need a scorecard. But they're clever and hard to see coming. Of course, cheating Cagney's like playing with fire, so someone should tell Louis Calhern (Barker) before he gets burned.
And get a load of Calhern's aristocratic nose—I'd love to see him and the equally endowed Basil Rathbone in a scene together. Plus, there're all those colorful old flivvers rolling down the street, which is one reason I like these cinema antiques. Also, I was wondering whether Barker was going to put on Ann's panties or just admire them. And what about his inspecting that brassiere where Ann keeps her valuables. Then again, this is pre-Code 1931. But catch that ending that's a puzzler given the questions left hanging.
Anyway, with its typical 30's bundle of energy, Warner Bros. again shows why it was the studio of record, and why Cagney remains truly trans-generational.
And get a load of Calhern's aristocratic nose—I'd love to see him and the equally endowed Basil Rathbone in a scene together. Plus, there're all those colorful old flivvers rolling down the street, which is one reason I like these cinema antiques. Also, I was wondering whether Barker was going to put on Ann's panties or just admire them. And what about his inspecting that brassiere where Ann keeps her valuables. Then again, this is pre-Code 1931. But catch that ending that's a puzzler given the questions left hanging.
Anyway, with its typical 30's bundle of energy, Warner Bros. again shows why it was the studio of record, and why Cagney remains truly trans-generational.