Douglas Fairbanks Jr. has gotten engaged to Billie Dove, but mama Helen Ware doesn't like it. Billie is a showgirl and thus unfit to be a daughter-in-law to a decent mob boss like her.
This movie moves between comedy and melodrama a little uncertainly, but the way Miss Ware plays her role, along with henchman Tully Marshall, is a delight. Miss Dove is quite lovely and more than adequate to her role and Doug Jr. is still learning his craft. There's still a bit of a problem with the emphatic way everyone speaks their lines, but the hiss on the soundtrack points out that it's still 1929 and they're learning how to manage a sound system.
The most notable thing about this movie is the way Director of Photography Ernest Haller moves the camera a bit to maintain composition when the actors move. This is the essence of studio-era camera movement, but it was difficult for a few years because of the immobility of the sound equipment. I'm not sure how sound man Dolph Thomas helped arrange it, but its casual use here is interesting.
This movie moves between comedy and melodrama a little uncertainly, but the way Miss Ware plays her role, along with henchman Tully Marshall, is a delight. Miss Dove is quite lovely and more than adequate to her role and Doug Jr. is still learning his craft. There's still a bit of a problem with the emphatic way everyone speaks their lines, but the hiss on the soundtrack points out that it's still 1929 and they're learning how to manage a sound system.
The most notable thing about this movie is the way Director of Photography Ernest Haller moves the camera a bit to maintain composition when the actors move. This is the essence of studio-era camera movement, but it was difficult for a few years because of the immobility of the sound equipment. I'm not sure how sound man Dolph Thomas helped arrange it, but its casual use here is interesting.