The future original star of Broadway's "Kiss Me Kate", Patricia Morison, gets her big break in film by playing a struggling hairdresser with an attitude, determined to get ahead no matter what it takes, and when the opportunity strikes, takes the wrong road to get there. This is a story by none other than J. Edgar Hoover, focusing on a Bonnie and Clyde like duo where cold as ice Morison manipulates a small time crook (J. Carroll Naish) into getting everything she wants, even going as far as marrying the sucker. Paramount's answer to MGM's "Crime Does Not Pay" shorts was a short lived series of programmers which were fast moving and no nonsense, more detailed at over an hour than the 10-20 minute add-on's during the golden age, and in most cases, absolutely fascinating.
Morison, sort of a young version of Gale Sondergaard, is riveting in this, not only emulating Bonnie Parker, but really a predecessor to Peggy Cummins in the film noir classic "Gun Crazy". It's fun watching her go from cynical hairdresser (stealing a bottle of expensive perfume from a wealthy client and belittling a struggling boyfriend) to major sociopath whose only vulnerability comes when thinking of her aging mother (Leona Roberts). It's those times that become fascinating as Morison shows both resentment and compassion to her mother, basically using Roberts and her father (Richard Carle) for a hideout against their will.
Certain elements stretch the imagination, but it's so fast moving and gritty (even insinuating that the elegant looking Morison must turn to prostitution to get cash while holding onto $200,000 of marked money) that it's easy to overlook some of the obvious flaws. The series went from looking at the supposed lives of Bonnie and Clyde to the Barker gang (with Blanche Yurka an unforgettable ma). Look quickly for early 1930's star Helen Twelvetrees in her last film, basically a walk-on, and William Frawley as one of the agents whom Morison manages to suddenly overpower. Lynn Overman and William Henry are the two lead agents on the case, and in one scene, Morison plots a horrific end for Overman that has to be seen to be believed. Fascinating B picture that deserves to be rediscovered!
Morison, sort of a young version of Gale Sondergaard, is riveting in this, not only emulating Bonnie Parker, but really a predecessor to Peggy Cummins in the film noir classic "Gun Crazy". It's fun watching her go from cynical hairdresser (stealing a bottle of expensive perfume from a wealthy client and belittling a struggling boyfriend) to major sociopath whose only vulnerability comes when thinking of her aging mother (Leona Roberts). It's those times that become fascinating as Morison shows both resentment and compassion to her mother, basically using Roberts and her father (Richard Carle) for a hideout against their will.
Certain elements stretch the imagination, but it's so fast moving and gritty (even insinuating that the elegant looking Morison must turn to prostitution to get cash while holding onto $200,000 of marked money) that it's easy to overlook some of the obvious flaws. The series went from looking at the supposed lives of Bonnie and Clyde to the Barker gang (with Blanche Yurka an unforgettable ma). Look quickly for early 1930's star Helen Twelvetrees in her last film, basically a walk-on, and William Frawley as one of the agents whom Morison manages to suddenly overpower. Lynn Overman and William Henry are the two lead agents on the case, and in one scene, Morison plots a horrific end for Overman that has to be seen to be believed. Fascinating B picture that deserves to be rediscovered!