Two American soldiers are captured by the Germans on the Western Front during World War One and escape a POW camp only to stumble into further life-threatening adventures when they come across an Arabian king's daughter while on the lam.
Fisherman Dutch marries cannery worker Hattie. He quits his poorly paid job to concentrate on getting better working conditions as union leader. Unfortunately, the union members disagree ... See full summary »
Sailor Spike dates girls whose names he finds in an address book. Each girl has the same tatoo, placed there by another sailor Bill. When Spike meets Bill they become friends. In Calais ... See full summary »
Perry Ashwell is a self-satisfied child psychologist who takes his colleagues and wife somewhat for granted. So confident is he of his position that he introduces rich attractive painter ... See full summary »
Chorus girl Jill and composer Fred are happily married until he steps out on her with another woman. Tired of his ongoing alcoholism and heartbroken, Jill decides to leave him and live it up, though she must contend with the unwanted advances of a notorious gangster who will stop at nothing to make her his mistress. And when she considers taking Fred back, matters could get deadly fast.Written by
Before putting a pot of coffee on the stove, Jill uses a wooden match to light the burner, while never once looking at the match. She shakes the match to put it out, but it flares up again as she drops it on top of a cabinet next to the stove. She then puts the coffee pot on the burner and walks off camera to look out the window. See more »
[Norma Talmadge's first line of spoken dialogue on film - said down a dumbwaiter shaft to who she thinks is the iceman]
Twenty-five pounds. And don't give my chunk a twice-over shave.
[said up the dumbwaiter shaft after sending up a stolen box of flowers with a note for her birthday]
Good morning, Jill.
Good morning, Mr. Prividi.
Mrs. Deverne, as I wished ya' wasn't.
You stop this silly flower business! Do you hear me?
Why? It's your boithday, ain' it, huh?
Well, who told you to celebrate it?
[...] See more »
It is difficult for me to mark this picture as the copy I have is of very poor quality in visual and sound. I have seen Norma Talmadge in "DuBarry" and on the evidence of these two films, it certainly was not her voice that ended her career. I think it was simply a matter of her increasing age and weight. Apparently she was 34/35, but at times looks more like 50 and there is clearly a thickening of the neckline and Queen Mothering of the upper arms. A previous reviewer has mentioned the arrival of a new set of younger faces at this time (Joan Blondell and Jean Harlow, for instance),but ironically, only a couple of years after Talmadge's retirement, the big new star was a forty year old, overweight woman with just the type of accent which was supposed to have ended Norma's career, namely, Mae West. The young Gilbert Roland has very much the appearance of his namesake, John Gilbert and the same Latin charm as his friend and fellow Mexican, Ramon Novarro. As is to be expected, the film is tied down by the static microphone, but not as obviously as, say, "Lights of New York". Sadly, my copy is shorn of several minutes; there is one complete song and some musical snippets in the party scene but no sign of Al Jolson in a cameo role.From what I see, however, the film had potential which, somehow, just didn't come to fruition. Returning to the matter of "Lights of New York", not only do these films share a similar title, but even the endings are not a million miles from each other!
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