Don't let the title of this early talkie fool you. It has little to do with Scotland Yard and more to do with post war issues that involve mistaken identity and the desire for a new life for the larger part of the two roles that veteran actor Edmund Lowe plays. He's both a notorious bank robber and a notorious drunken banker, involved in a horrible marriage to the beautiful but unhappy Joan Bennett. Believing her husband whom she despised to be dead, she becomes a flamboyant party girl out only for happiness, and is upset to find out that her husband is convalescing in a hospital, having had his face restored after being almost blown up in battle. But, it's not him; it's the bank robber, having stolen Bennett's locket after hiding out and getting medical attention from Bennett while her husband watched from a drunken stupor. Will circumstances change their fate, or will the truth damage any chance of happiness that they seek?
Yes indeed, it's a convoluted, practically unbelievable story, with more holes than a World War I trench sand bag. The actors speak practically monotone and the camera barely moves. But surprisingly, I found myself enjoying this more than it was worthy of being enjoyed. Donald Crisp plays the pal of the bank thief, threatening to expose him. Perhaps it's the fact that this is so convoluted that makes it fun; With each step that the plot takes, it just manages to become more endearing, especially when Lowe teases the unknowing Crisp under his breath to drop subtle hints of his identity. Bennett reminds me of a young Carole Lombard here, playing the type of role that her own sister Constance Bennett would inhabit through much of the 1930's. Lowe seems to be putting every effort to establish a memorable characterization. This is the type of film that requires much suspense of belief. If you are able to, you might come out liking it in spite of some serious flaws.
Yes indeed, it's a convoluted, practically unbelievable story, with more holes than a World War I trench sand bag. The actors speak practically monotone and the camera barely moves. But surprisingly, I found myself enjoying this more than it was worthy of being enjoyed. Donald Crisp plays the pal of the bank thief, threatening to expose him. Perhaps it's the fact that this is so convoluted that makes it fun; With each step that the plot takes, it just manages to become more endearing, especially when Lowe teases the unknowing Crisp under his breath to drop subtle hints of his identity. Bennett reminds me of a young Carole Lombard here, playing the type of role that her own sister Constance Bennett would inhabit through much of the 1930's. Lowe seems to be putting every effort to establish a memorable characterization. This is the type of film that requires much suspense of belief. If you are able to, you might come out liking it in spite of some serious flaws.