Carole Lombard and Pat O'Brien give painfully sharp performances as a young working class couple who meet, fall in love and marry
and then face the harsh realities of her past, his assumptions, and entanglement in a murder case.
An excellent supporting cast includes Ward Bond as O'Brien's buddy. A couple of rough-edged cabbies, both Bond and O'Brien are reluctant romantics; early on, O'Brien tries to talk Bond out of getting married because dames are "all built on the same model, aren't they?"
Mayo Methot is Lombard's fellow working girl; slightly older and wiser, she encourages Lombard to "get out" if she possibly can. Jack La Rue is depressingly convincing as a small time crook named Toots, a ruthless smooth talker and manipulator but really not very smart.
O'Brien is very good as the hardnosed cab driver saving up to buy a gas station. He's kind of a jerk or is that just an act? "Sure, I know all about women," he says—in a moment of bitter self-loathing. He may have a heart of gold, but it doesn't shine through often or easily.
Lombard's character is the most complex: caught between old associates and a new husband who distrusts her, she is presented with a series of dangerous and difficult choices. Does she choose wisely? Can this possibly end well for her?
It's a fairly maudlin tale, overall; solid dialog and believable performances, however, make it very watchable. The last third of the picture, when it develops into a sort of murder drama, is easily the liveliest and most interesting section.
Interesting to fans of these stars or early 30s melodramas.
An excellent supporting cast includes Ward Bond as O'Brien's buddy. A couple of rough-edged cabbies, both Bond and O'Brien are reluctant romantics; early on, O'Brien tries to talk Bond out of getting married because dames are "all built on the same model, aren't they?"
Mayo Methot is Lombard's fellow working girl; slightly older and wiser, she encourages Lombard to "get out" if she possibly can. Jack La Rue is depressingly convincing as a small time crook named Toots, a ruthless smooth talker and manipulator but really not very smart.
O'Brien is very good as the hardnosed cab driver saving up to buy a gas station. He's kind of a jerk or is that just an act? "Sure, I know all about women," he says—in a moment of bitter self-loathing. He may have a heart of gold, but it doesn't shine through often or easily.
Lombard's character is the most complex: caught between old associates and a new husband who distrusts her, she is presented with a series of dangerous and difficult choices. Does she choose wisely? Can this possibly end well for her?
It's a fairly maudlin tale, overall; solid dialog and believable performances, however, make it very watchable. The last third of the picture, when it develops into a sort of murder drama, is easily the liveliest and most interesting section.
Interesting to fans of these stars or early 30s melodramas.