Even though there are elements in this film that will be familiar to those who enjoy crime dramas of the 1930s, not to mention some similarities with "San Francisco" (starring Gable), this film is a top notch production with superb acting and a very good script.
Clark Gable here played...well...Clark Gable. A man who could take it. Even when it meant that his lifelong friend would be the prosecutor who would send him to the electric chair. Even though that friend, later the governor, would not commute his sentence as a matter of principle. I mentioned "San Francisco" (1936); in that film his character was also named Blackie; and there was a conflict between the somewhat bad Blackie there and another man (in that case Spencer Tracy instead of William Powell) and a sort of battle of wills as to what kind of woman she (Jeanette MacDonald instead of Myrna Loy) would become.
This is one of William Powell's better roles...and he usually was wonderful! Here he plays a man of principle...even when that principle shakes him to his core. It's a very serious role, and he plays it with dignity. As much fun as he was in films such as "The Thin Man", this was a particular stellar role for him.
And, this was his first pairing with Myrna Loy, and -- as usual -- Loy's performance is top notch.
The only other performance here of particular note is that by a very young Mickey Rooney. Although hardly as polished as his later portrayals, one can see why he became a star.
One thing that really caught my eye...or should I say ear...was a song with very strange lyrics that later was transformed into "Blue Moon" by Rogers and Lorenz Hart.
I would guess that MGM didn't realize what a gem they had here. It was extremely popular at the box office. And, it has the distinction of being the film that John Dillinger saw and was subsequently shot to death by the FBI after leaving the theater.
This is a superb film, and I'll give it a rare "8". And, I'm going to Amazon now to see if it is available on DVD.
Clark Gable here played...well...Clark Gable. A man who could take it. Even when it meant that his lifelong friend would be the prosecutor who would send him to the electric chair. Even though that friend, later the governor, would not commute his sentence as a matter of principle. I mentioned "San Francisco" (1936); in that film his character was also named Blackie; and there was a conflict between the somewhat bad Blackie there and another man (in that case Spencer Tracy instead of William Powell) and a sort of battle of wills as to what kind of woman she (Jeanette MacDonald instead of Myrna Loy) would become.
This is one of William Powell's better roles...and he usually was wonderful! Here he plays a man of principle...even when that principle shakes him to his core. It's a very serious role, and he plays it with dignity. As much fun as he was in films such as "The Thin Man", this was a particular stellar role for him.
And, this was his first pairing with Myrna Loy, and -- as usual -- Loy's performance is top notch.
The only other performance here of particular note is that by a very young Mickey Rooney. Although hardly as polished as his later portrayals, one can see why he became a star.
One thing that really caught my eye...or should I say ear...was a song with very strange lyrics that later was transformed into "Blue Moon" by Rogers and Lorenz Hart.
I would guess that MGM didn't realize what a gem they had here. It was extremely popular at the box office. And, it has the distinction of being the film that John Dillinger saw and was subsequently shot to death by the FBI after leaving the theater.
This is a superb film, and I'll give it a rare "8". And, I'm going to Amazon now to see if it is available on DVD.