A fascinating variant on the Biblical story of Joseph, as told in the book of Genesis. The favorite of his community, and revered and only son of his mother (his father is dead), is sold into slavery in a foreign land by his brother lawyers, where through sheer weight of his brains he works himself up to a position as right-hand man of the local big wheel.
Muni is most adept in the Joseph role, whilst Eugene Pallette has one of his meatiest parts ever as the chief of the gambling tables. His wife of necessity makes an extremely late entrance, but when she does come on, Davis rivets the attention - partly through her supreme acting charisma, partly through the incredibly slinky costumes Orry-Kelly has designed for her here.
Of the support players, Samuel S. Hinds as the initial trial judge and William B. Davidson as an opportunistic dentist make the most impression. Other cameos we enjoyed were Willie Fung as Wong ("I no cleep, walkie same alla time!"), Oscar Apfel as the sententious Barnswell, and Frank Puglia as the police captain. I hope you spot Chris-Pin Martin as a policeman, Jack Norton as the first man in Roark's casino, and Hobart Cavanaugh as an easily-led drunk (the reverse of his fighting part in Rose of Washington Square).
Assisted by Tony Gaudio's superlative camerawork, Archie L. Mayo's direction reveals a skill and a flair that we don't usually associate with his work. The camera is often on the move, with sweeping tracking shots making light of what would otherwise be dull dialogue scenes.
Although Muni is undoubtedly the star, the script gives all the sharpest, wittiest and most colorful lines - as well as the best bits of business - to other players, particularly Davis who has a wonderful stooge in Pallette. In fact, the Muni character emerges as less colorful even than Roberts, the butler, played by Arthur Treacher. Sincere and earnest enough, Muni is full of fighting words, but inclined to be dull. The art direction is incredibly lavish. The interior of the re-designed casino will knock your eyes out.
Muni is most adept in the Joseph role, whilst Eugene Pallette has one of his meatiest parts ever as the chief of the gambling tables. His wife of necessity makes an extremely late entrance, but when she does come on, Davis rivets the attention - partly through her supreme acting charisma, partly through the incredibly slinky costumes Orry-Kelly has designed for her here.
Of the support players, Samuel S. Hinds as the initial trial judge and William B. Davidson as an opportunistic dentist make the most impression. Other cameos we enjoyed were Willie Fung as Wong ("I no cleep, walkie same alla time!"), Oscar Apfel as the sententious Barnswell, and Frank Puglia as the police captain. I hope you spot Chris-Pin Martin as a policeman, Jack Norton as the first man in Roark's casino, and Hobart Cavanaugh as an easily-led drunk (the reverse of his fighting part in Rose of Washington Square).
Assisted by Tony Gaudio's superlative camerawork, Archie L. Mayo's direction reveals a skill and a flair that we don't usually associate with his work. The camera is often on the move, with sweeping tracking shots making light of what would otherwise be dull dialogue scenes.
Although Muni is undoubtedly the star, the script gives all the sharpest, wittiest and most colorful lines - as well as the best bits of business - to other players, particularly Davis who has a wonderful stooge in Pallette. In fact, the Muni character emerges as less colorful even than Roberts, the butler, played by Arthur Treacher. Sincere and earnest enough, Muni is full of fighting words, but inclined to be dull. The art direction is incredibly lavish. The interior of the re-designed casino will knock your eyes out.