A landslide has diverted water from the Baldwin ranch to Cambert's. With their cattle dying, Cambert refuses to let them have any water. Easterner Larry Knight takes a job with the Baldwins... See full summary »
A young American girl visits Paris accompanied by her fiancee and her wealthy uncle. There she meets and is romanced by a worldly novelist; what she doesn't know is that he is a blackmailer who is using her to get to her uncle.
The marriage of an advertising man is jeopardized when he gets a chance to sell a novel he's been working on and quits his job to concentrate on writing. In order to support the family, the... See full summary »
A. Edward Sutherland
Richard 'Skeets' Gallagher,
To prove his thesis that any product--even one that doesn't exist--can be merchandized if it is advertised properly, a young man gets together with his father's savvy secretary to market a ... See full summary »
Richard 'Skeets' Gallagher
A wealthy New York socialite falls for and marries a cowboy while out West. Her father disinherits her, and after trying to make a go of it as a cowboy's wife, they agree to divorce and she... See full summary »
The Arizona Kid (Warner Baxter) carries out his mission as a Robin Hood-type bandit while posing as a wealthy and carefree miner. He falls for an eastern girl, Virginia Hoyt (Carole Lombard... See full summary »
Theodore von Eltz
Tough mobster Mahlon Keane practically runs crime in New York City. He meets broke ex-society girl Rhoda Philbrooke at a society fundraiser and helps her cheat her way to some winnings in poker. Rhoda needs the money to help nurse broken alcoholic concert violinist Tony Vaughan back to health. In between his criminal dealings, Keane takes up Rhoda's cause and helps promote Vaughan's return to public performance. Rhoda agrees to marry Keane but still harbors unrequited love for Tony Vaughan. On the eve of her marriage, Vaughan confesses his love to Rhoda. Now how will she handle her mobster fiancée?Written by
Gary Jackson <email@example.com>
Intrigue, Defiance of Law, dark Plots, murder, Crime, Devotion, Disloyalty See this Great Picture Story of Life in the Shady Haunts of Crime (Print Ad- St. Joseph Gazette, ((St. Joseph, Mo.)) 15 December 1929) See more »
The earliest documented telecast of this film occurred in Los Angeles Thursday 17 February 1949 on KFI (Channel 9). See more »
When Gus spots rival gangster Bernie Weber riding in the back of a taxi, he tells his driver Squid to pull alongside it so he can shoot him. Gus refers to it as a gray cab, and in the studio close-up it appears to be white or at least a very light gray. In the subsequent cut to the location shot done outdoors on location, the cab with the dead mobster appears to be black. See more »
"The Racketeer" stars Carol (deprived of the "e" that usually appeared at the end of her first name) Lombard as a woman thrown out of society because she left her husband for a concert violinist (Roland Drew) who has since become a down-and-out alcoholic, and torn between her love for him and the interest of New York crime kingpin Robert Armstrong (top-billed). It's virtually a compendium of what was wrong with the earliest talkies: stiff direction, immobile cameras, stagy acting and ridiculously slow-paced delivery of lines. At the time the sound crews were telling the directors to have their actors speak every line s-l-o-w-l-y and not to start speaking their own line until after the previous actor had finished theirs. Done about five years later, this could have been an interesting movie, but director Howard Higgin faithfully follows his sound recorder's dictates and systematically undercuts the talents we know Lombard and Armstrong had from watching their later movies. "The Racketeer" was made in 1929, a year that despite the transition problems from silent to sound nonetheless gave us some legitimate masterpieces Vidor's "Hallelujah!," Mamoulian's "Applause," Wyler's "Hell's Heroes," Capra's "Ladies of Leisure" all from directors with strong enough wills to tell the soundboard dictators to get stuffed and let their actors talk and act naturalistically. Too bad Howard Higgin wasn't that strong; as it is, watching a naturally rapid-paced actor like Armstrong slog through the part in the ridiculous way he's been told to speak, one can't help but wonder where that 50-foot gorilla is when Armstrong needs him.
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