A pretty fair movie -- look for Myrna Loy as she begins her ascent to Queen of Hollywood. The real star for me in Jame Wong Howe's magnificent photography, lovely deep focus work ten years before Greg Toland 'revolutionized' pictures with it.
12 Reviews
Life on a cruise ship
AAdaSC13 March 2019
We are introduced to a cast of characters about a cruise ship and I'm afraid it is not clear whose story we are following. Their lives are inter-linked so just go along with the story even if you are not entirely sure what it is about and who is holding down the main plot. The film also seems to have been made in French and some of the scenes have sections where actors speak but no dialogue is heard as well as a scene early on when Edmund Lowe first appears on the ship and reads a newspaper headline which is written in French. They should have given a translation for this as it is important to your understanding of the film. It says that police are hunting someone down and that someone is Lowe. Now that you know this, the end scene will make sense and you will understand his character a bit more and how come he has certain acquaintances on board the ship.
The story itself is ok if a little confusing at first nd provides tense moments especially when Lowe and floozy Greta Nissen (Sigrid) come face to face outside the cabin of wealthy John Halliday (Henry) whom everyone seems to have a motive for killing. There is a shoot-out at the end but I find these kind of endings rather tiresome - bang bang - someone gets shot. Boring. The ship's décor is interesting, though.
The story itself is ok if a little confusing at first nd provides tense moments especially when Lowe and floozy Greta Nissen (Sigrid) come face to face outside the cabin of wealthy John Halliday (Henry) whom everyone seems to have a motive for killing. There is a shoot-out at the end but I find these kind of endings rather tiresome - bang bang - someone gets shot. Boring. The ship's décor is interesting, though.
fast-paced, snappy and splendid
c532c7 August 2003
Made in the early-morning of talking pictures, this belies any notion you might have of early talkies, with fast editing, a deleriously moving camera, and sharp script. Sets are magnificent, with the luxury liner where the action takes place assuming the atmosphere of some Byzantine palace. Best of all, it's capped off with a tour-de-force cat-and-mouse shoot-out through the vast engine room, which James Wong Howe's photography turns into a visual wonderland-maze of catwalks, huge machines and glossy steam. Script, story and playing are all top-notch.
Workin' all the ladies on both sides of the Atlantic doesn't make him a gentleman.
mark.waltz14 February 2017
Warning: Spoilers
At the rate he's going, he's not going to make it from one side of the Atlantic to the other. Edmund Lowe is the cad of all cads-a bounder, a charlatan, a snake on the ocean. He's on his way to Europe working on the idea for a tunnel from one coast to the other, a ridiculous prospect in itself, and it seems to be his goal to make love to every woman (attached or not) on the ocean liner. Among his intended conquests are Lois Moran, Greta Nielsen and a very young Myrna Loy. Other situations include passengers dealing with a bank crash and a not so surprising murder, followed by a storm at sea. Moran's father, Jean Hersholt, confronts John Halliday over the bank failing while various husbands confront the amoral Lowe.
This isn't a great movie, but interesting in its depiction of excess on the high seas just 20 years after the Titanic and only a couple of years before the Moritania. It's early 1930's Art Deco with a mostly unknown cast, with Loy the most famous name in the film, yet not having a lot to do. But while a bit creaky and predictable, there's enough elements of pre-code scandal and sin to keep the audience engaged. Lowe goes to show ya that even a somewhat paunchy middle aged man can get all the girls he wants. The twists and turns come at an alarming rate, so if you remain patient with it, you'll find it an early talkie with many great qualities, not the least of which is its Oscar winning art direction.
This isn't a great movie, but interesting in its depiction of excess on the high seas just 20 years after the Titanic and only a couple of years before the Moritania. It's early 1930's Art Deco with a mostly unknown cast, with Loy the most famous name in the film, yet not having a lot to do. But while a bit creaky and predictable, there's enough elements of pre-code scandal and sin to keep the audience engaged. Lowe goes to show ya that even a somewhat paunchy middle aged man can get all the girls he wants. The twists and turns come at an alarming rate, so if you remain patient with it, you'll find it an early talkie with many great qualities, not the least of which is its Oscar winning art direction.
Transatlantic
CinemaSerf18 February 2024
Though this does go a bit off course from time time, a boat - like a train - does provide for quite a good stage for an engaging mystery peppered with loads of melodrama. "Greer" (Edmund Lowe) is the suave and debonaire gent who hopes to make an easy living on the cards and on the roulette wheels abroad this liner. He quickly becomes aware of a cunning wheeze by a gang of crooks to relieve wealthy tycoon "Graham" (John Halliday) of some of his wealth but declines to get involved. "Halliday" is not so happily married to "Kay" (Myrna Loy) and so keeps mistress "Sigrid" (Greta Nissen) in the style to which she wishes to remain accustomed. That brings us full circle because she and "Greer" have some history together. Things become distinctly choppier on board when news reaches all that the financier's bank has gone bust and that has devastating effects on poor old "Kramer" (Jean Hersholt) who is travelling with his daughter "Judy" (Lois Moran) and who is now completely broke. What now ensues is quite an entertaining marriage of the criminal, the comedic - especially the steward (Billy Bevan) with his shallow obsequiousness - and the lightly romantic. As the threads tie together these characters have to reconcile the bankruptcy and the infidelities - all before the ship docks and they can all go their merry ways. It's really more of an ensemble effort with a competent Lowe at the top of the bill holding together the conflicting themes and whilst I could maybe have done with a little more of Loy, it still looks good and flows well enough - if predictably - for eighty minutes before quite a lively denouement deep in the gunwales. I suppose the "code" would have put paid to it had it been made three years later - too many sinful and naughty shenanigans.
Drama at High Seas
view_and_review9 February 2024
"Transatlantic" didn't feature any names I'm familiar with besides Myrna Loy and Jean Hersholt. It starred Edmund Lowe as Monty Greer, someone of nebulous dealings. He, as well as a host of other characters, was on a cruise ship named "S. S. Transatlantic." The people of interest were Henry Graham (John Halliday), Kay Graham (Myrna Loy), Sigrid Carline (Greta Nissen), Judy Kramer (Lois Moran), Jed Kramer (Jean Hersholt), and Handsome (Earle Foxe).
Henry Graham (John Halliday)was a wealthy banker whose bank failed, yet he seemed eerily unfazed by it. He was having a grand old time on the Transatlantic messing around with Sigrid Carline (Greta Nissen) right under his wife Kay's nose. Henry was a loathsome person. He was cheating on his wife and cheating his customers. While they were losing everything with his bank's failure he'd withdrawn all of his money and assets from the bank. Jed (Jean Hersholt), one of his customers, was despondent. He went to Henry in hopes he may do something or offer up some advice. Instead Henry shooed him away as though he were a leper.
While Henry was publicly embarrassing Kay (Myrna Loy) by being seen with Sigrid, Kay was trying to remain a dutiful wife. In fact, she readily accepted Henry back once he was done with playing with Sigrid. It turns out that even though Henry was a foul cheat, he didn't want his mistress Sigrid to be fooling around with anyone else. When he saw Sigrid and Monty (Edmund Lowe) in the room together he'd had enough of her and went back to his wife who was ever the soldier.
Monty was mixed up with everyone. He found himself entertaining Judy Kramer (Lois Moran), the young daughter of Jed Kramer. He was dodging Handsome (Earle Foxe), a thief scheming on Henry Graham's loot. He evidently once had a relationship with Sigrid who now had her eyes on Henry Kramer and his money, which put him smack-dab in the middle of the Grahams marital affairs.
"Transatlantic" was pretty good. It looked like it could've been a model for movies like "Grand Hotel" (1932) and "Manhattan Tower" (1932), both movies that involved many characters in one enclosed location.
Henry Graham (John Halliday)was a wealthy banker whose bank failed, yet he seemed eerily unfazed by it. He was having a grand old time on the Transatlantic messing around with Sigrid Carline (Greta Nissen) right under his wife Kay's nose. Henry was a loathsome person. He was cheating on his wife and cheating his customers. While they were losing everything with his bank's failure he'd withdrawn all of his money and assets from the bank. Jed (Jean Hersholt), one of his customers, was despondent. He went to Henry in hopes he may do something or offer up some advice. Instead Henry shooed him away as though he were a leper.
While Henry was publicly embarrassing Kay (Myrna Loy) by being seen with Sigrid, Kay was trying to remain a dutiful wife. In fact, she readily accepted Henry back once he was done with playing with Sigrid. It turns out that even though Henry was a foul cheat, he didn't want his mistress Sigrid to be fooling around with anyone else. When he saw Sigrid and Monty (Edmund Lowe) in the room together he'd had enough of her and went back to his wife who was ever the soldier.
Monty was mixed up with everyone. He found himself entertaining Judy Kramer (Lois Moran), the young daughter of Jed Kramer. He was dodging Handsome (Earle Foxe), a thief scheming on Henry Graham's loot. He evidently once had a relationship with Sigrid who now had her eyes on Henry Kramer and his money, which put him smack-dab in the middle of the Grahams marital affairs.
"Transatlantic" was pretty good. It looked like it could've been a model for movies like "Grand Hotel" (1932) and "Manhattan Tower" (1932), both movies that involved many characters in one enclosed location.
Recently restored, and praise be!
wmorrow5910 June 2018
Let me begin by thanking everyone involved in the recent rescue and restoration of this film. Like so many releases from the Fox Studio, 'Transatlantic' in its original form was lost to posterity due to a 1937 film vault explosion in New Jersey. The original negative was destroyed, and for many years the only known surviving print was one found in Europe, dubbed in French. The credits and all written inserts (newspaper headlines, etc.) were in French as well. But in recent years an almost complete audio recording of the English language soundtrack was recovered, and subsequently new credits and inserts were created which closely match the originals. 'Transatlantic' is once more being screened in a version fairly close to its original release print. Unfortunately, a few random moments of the soundtrack remain missing, but those brief passages have been bridged by subtitles.
Was all this effort worthwhile? Absolutely! 'Transatlantic' is a terrific movie, a first rate popcorn flick, especially impressive as a product of the early talkie era. If you didn't know it was produced in 1931 you'd guess it was done much later: the editing tempo is brisk, camera work is smooth and unconstrained, and the performances are sharp. There's no sign of the slow pacing or awkwardness one sometimes finds in films of this era. The opening sequence, when the ship where most of the action takes place sets sail, serves as an exciting, beautifully edited introduction to our main characters. And once the voyage is underway, several storylines are deftly juggled, in a tight scenario that builds to a genuinely suspenseful finale.
As others have mentioned, this is essentially 'Grand Hotel' on the high seas. (It was produced the year before MGM's famous film, but two years after the publication of that film's source novel.) Edmund Lowe plays Monty Greer, a character rather like John Barrymore's familiar jewel thief. He's a debonair gambler, embarking on this voyage one step ahead of the law, but we know he's a decent sort because he refuses to throw in with a gang of ruthless crooks also on board the ship. They've set their sights on wealthy financier Henry Graham (John Halliday), who has absconded with funds one step ahead of his bank's failure. Graham, for his part, keeps his wife Kay (Myrna Loy) at a distance while he steps out with his mistress Sigrid (Greta Nissen), who is also on board. Sigrid, as it happens, was formerly on intimate terms with Monty. He, meanwhile, befriends kindly old Mr. Kramer (Jean Hersholt) who has worked hard for many years as a lens grinder while raising his daughter Judy (Lois Moran). At long last Mr. Kramer is able to retire and travel-but his life's savings are kept in Henry Graham's bank, and its failure, which Kramer hears about during the voyage, means that he's wiped out.
Those are the central plot threads. It may sound complicated, but it all unfolds neatly and clearly as the ship sails on. There are occasional touches of comedy relief as well, frequently provided by a steward named Hodgkins (played by silent comedy veteran Billy Bevan), whose conversation consists of windy, oft-repeated platitudes. And, as noted above, the various story threads build to a highly suspenseful climax, a shoot-out in the ship's boiler room that is a dazzling cinematic tour-de-force. Kudos to director William K. Howard, cinematographer James Wong Howe, and editor Jack Murray for their work on this film. And again, many thanks to the restoration artists who helped make this delightful flick available once more!
Was all this effort worthwhile? Absolutely! 'Transatlantic' is a terrific movie, a first rate popcorn flick, especially impressive as a product of the early talkie era. If you didn't know it was produced in 1931 you'd guess it was done much later: the editing tempo is brisk, camera work is smooth and unconstrained, and the performances are sharp. There's no sign of the slow pacing or awkwardness one sometimes finds in films of this era. The opening sequence, when the ship where most of the action takes place sets sail, serves as an exciting, beautifully edited introduction to our main characters. And once the voyage is underway, several storylines are deftly juggled, in a tight scenario that builds to a genuinely suspenseful finale.
As others have mentioned, this is essentially 'Grand Hotel' on the high seas. (It was produced the year before MGM's famous film, but two years after the publication of that film's source novel.) Edmund Lowe plays Monty Greer, a character rather like John Barrymore's familiar jewel thief. He's a debonair gambler, embarking on this voyage one step ahead of the law, but we know he's a decent sort because he refuses to throw in with a gang of ruthless crooks also on board the ship. They've set their sights on wealthy financier Henry Graham (John Halliday), who has absconded with funds one step ahead of his bank's failure. Graham, for his part, keeps his wife Kay (Myrna Loy) at a distance while he steps out with his mistress Sigrid (Greta Nissen), who is also on board. Sigrid, as it happens, was formerly on intimate terms with Monty. He, meanwhile, befriends kindly old Mr. Kramer (Jean Hersholt) who has worked hard for many years as a lens grinder while raising his daughter Judy (Lois Moran). At long last Mr. Kramer is able to retire and travel-but his life's savings are kept in Henry Graham's bank, and its failure, which Kramer hears about during the voyage, means that he's wiped out.
Those are the central plot threads. It may sound complicated, but it all unfolds neatly and clearly as the ship sails on. There are occasional touches of comedy relief as well, frequently provided by a steward named Hodgkins (played by silent comedy veteran Billy Bevan), whose conversation consists of windy, oft-repeated platitudes. And, as noted above, the various story threads build to a highly suspenseful climax, a shoot-out in the ship's boiler room that is a dazzling cinematic tour-de-force. Kudos to director William K. Howard, cinematographer James Wong Howe, and editor Jack Murray for their work on this film. And again, many thanks to the restoration artists who helped make this delightful flick available once more!
"Grand Hotel" of the High Seas
kidboots8 December 2010
Warning: Spoilers
Lois Moran may have been F. Scott Fitzgerald's inspiration for Rosemary, the sweet starlet in "Tender is the Night" but it is a pity she didn't inspire studio bosses to find her better movies. Samuel Goldwyn discovered her in Paris and bought her to Hollywood where she was given the role of Laurel in "Stella Dallas". Apart from that and "Transatlantic" she appeared in no other films of note but the next year (1932) she was on Broadway starring in George Gershwin's "Of Thee I Sing" and the sequel "Let Them Eat Cake". Broadway saw something that had alluded Hollywood.
In a terrific long panning shot, all the bustle of boarding a huge ocean liner is depicted - from the taxis pulling up, everyone streaming through the entrances, the baggage trolleys, even a little stray dog (looked a lot like Asta) and all the crew working to get the liner off to a smooth start. Jed Kramar (Jean Hersholt) confides to his daughter Judy (Lois Moran) that this will be the start of a new life for them, Monty Greer (Edmund Lowe) is on the run from the police and in the next cabin, Kay Graham (Myrna Loy, spelt Mirna in the credits) is promising her insufferable husband Henry (John Halliday) that she will try to be more cordial to his mistress, Sigrid (Greta Nissen) next time she pops into their cabin.
Linking the main characters is Monty - he accidentally makes the acquaintance of Kay while looking for his bag, he already knows Sigrid and tries to convince her to leave Henry to his wife, Kay, who loves him very much. A robbery is being planned and Graham, a successful banker, is the target. Even though news has just come through that his bank has failed, Graham is not bothered as he is fleeing the country with most of the securities and money he could lay his hands on. Kramar, a depositer with the bank, is ruined but when he tries to confront Graham, he is thrown out like a piece of riff raff. An attempt is made on Graham's life and both Kramar and Greer are held on charges of attempted murder.
With a plot very reminiscent of "Grand Hotel" (and seeing that Vicki Baum published her novel in 1929, this maybe the first (although slight) adaptation of it) with Edmund Lowe (substituting for John Barrymore) as the debonair thief willing to lend a helping hand to anyone in distress, especially Myrna Loy (substituting for Greta Garbo) as the let down wife, the real star of "Transatlantic" is the atmospheric cinematography of James Wong Howe and the magnificent sets. Fox, more than any of the other major studios, embraced the Expressionism that came out of European movies of the 20s and "Transatlantic" had a very Continental air about it. The film credits and even various newspaper clippings that appeared throughout the film were in French. Also it helped that there were no big name stars - Edmund Lowe, Lois Moran, Greta Nissen, John Halliday, Myrna Loy (when she was still a supporting player) all gave the movie a European feel.
Highly, Highly Recommended.
In a terrific long panning shot, all the bustle of boarding a huge ocean liner is depicted - from the taxis pulling up, everyone streaming through the entrances, the baggage trolleys, even a little stray dog (looked a lot like Asta) and all the crew working to get the liner off to a smooth start. Jed Kramar (Jean Hersholt) confides to his daughter Judy (Lois Moran) that this will be the start of a new life for them, Monty Greer (Edmund Lowe) is on the run from the police and in the next cabin, Kay Graham (Myrna Loy, spelt Mirna in the credits) is promising her insufferable husband Henry (John Halliday) that she will try to be more cordial to his mistress, Sigrid (Greta Nissen) next time she pops into their cabin.
Linking the main characters is Monty - he accidentally makes the acquaintance of Kay while looking for his bag, he already knows Sigrid and tries to convince her to leave Henry to his wife, Kay, who loves him very much. A robbery is being planned and Graham, a successful banker, is the target. Even though news has just come through that his bank has failed, Graham is not bothered as he is fleeing the country with most of the securities and money he could lay his hands on. Kramar, a depositer with the bank, is ruined but when he tries to confront Graham, he is thrown out like a piece of riff raff. An attempt is made on Graham's life and both Kramar and Greer are held on charges of attempted murder.
With a plot very reminiscent of "Grand Hotel" (and seeing that Vicki Baum published her novel in 1929, this maybe the first (although slight) adaptation of it) with Edmund Lowe (substituting for John Barrymore) as the debonair thief willing to lend a helping hand to anyone in distress, especially Myrna Loy (substituting for Greta Garbo) as the let down wife, the real star of "Transatlantic" is the atmospheric cinematography of James Wong Howe and the magnificent sets. Fox, more than any of the other major studios, embraced the Expressionism that came out of European movies of the 20s and "Transatlantic" had a very Continental air about it. The film credits and even various newspaper clippings that appeared throughout the film were in French. Also it helped that there were no big name stars - Edmund Lowe, Lois Moran, Greta Nissen, John Halliday, Myrna Loy (when she was still a supporting player) all gave the movie a European feel.
Highly, Highly Recommended.
Terrific Film, stunning Art Deco sets
krburditt24 June 2018
Saw Transatlantic on June 23 at a special screening at AFI/Silver, in the glorious restored Art Deco Silver Theater. In a joint presentation with the Art Deco Society of Washington an audience of almost 300 people enjoyed a restored copy of a little know early talking film Transatlantic. I was expecting a film like many of the early 30's films, a little slow, flat sets, and a thin story line. I was stunned to watch a fast paced, gripping story line that was definitely Pre Code, with a touch of Noir, and had stunning sets.
Its called Grand Hotel on the Ocean, which is a bit unfair. You can see the similarities but this is a piece on its own. The gorgeous Art Deco furnishings, wood work, and grills, the flashing directional signage, exuberant jazz music, and costumes that would be popular today. There is infidelity, corruption, theft, and raspberry pie. The finally is a cat and mouse chase scene through a multi tiered engine room with tracking shots that is as good as any CGI super hero film today. A really amazing and superior film for its time, and you definitely see the talents of James Wong in its design.
The AFI presentation included a pre film lecture by Christian Roden on early 20th century ocean liners and how the Liner companies updated their interior designs from the English country house look to the very latest cutting edge designs that are now referred to as Art Deco. The lecture provide helpful context on an industry now known more for Caribbean cruises than necessary and elegant transportation.
Pay particular attention to a montage of scenes when the ship is going through high seas - couples on a dance floor and elegantly clad ladies falling down steps provide a look at how the real transatlantic crossing passengers braved high seas in practiced good humor.
Many thanks to MoMa for the restoration. They made the overlap transition to subtitle, in sections where dialogue is missing, seamless to the viewer. Many thanks to all the technicians who pulled together the many foreign copies to recreate this film.
Many in last nights audience wanted to know if the film would be shown again, and when it will be released for sale. We all want to see it again and again, and hit pause to admire the sets.
If you have a chance to see this film, it is worth the time and effort.
.
William K. Howard rides again!
JohnHowardReid14 May 2018
Warning: Spoilers
Edmund Lowe (Monty Greer), Lois Moran (Judy Kramer), John Halliday (Henry Graham), Greta Nissen (Sigrid Carline), Jean Hersholt (Rudolph Kramer), Myrna Loy (Kay Graham), Earl Foxe (Handsome), Billy Bevan (Hudgins), Goodee Montgomery (Peters), Jesse De Vorska (buyer), Claude King (captain), Crauford Kent (first officer), Rosalie Roy (bride), Ruth Donnelly (Burbank), Eddie Borden (interloper), James Kirkwood (Sigrid's beau), Jack Lowe (waiter), Henry Sedley (Chalky), Larry Steers (passenger), Louis Matheaux (henchman), Edmund Mortimer (guest), Bob Montgomery (Socker).
Director: WILLIAM K. HOWARD. Screenplay: Guy Bolton and Lynn Starling. Original screen story: Guy Bolton. Photography: James Wong Howe. Film editor: Jack Murray. Art director: Gordon Wiles. Stills: Clarence Sinclair Bull. Copyright 10 July 1931 by Fox Film Corp. New York opening at the Roxy, 30 July 1931. 6,627 feet. 73½ minutes.
SYNOPSIS: A Grand Hotel on an ocean liner.
NOTES: Academy Award, Art Direction, Gordon Wiles (defeating A Nous la Liberte and Arrowsmith).
COMMENT: Photographer Jimmy Howe was once asked by an eager film student in the late 1960s, to name the director Howe regarded as the most skillful, the most talented, the most inventive and the most accomplished in the entire American film industry.
Jimmy had worked for many great directors. The eager student expected him to nominate Martin Ritt, Howard Hawks, Raoul Walsh, or perhaps John Frankenheimer.
To the student'sutter amazement, Howe unhestitatingly answered, "William K. Howard."
Would you believe, the student had never even heard of William K. Howard? Sad, but true!
Well, here in "Transatlantic", we find Howard at the zenith of his powers. In fact, "Transatlantic" is a superbly beautiful film in every respect. Even Edmund Lowe (under Howard's sympathetic direction) gives a thoroughly convincing performance.
Enough said! I don't want to detail all this film's merits. I would rather you seek it out and watch it yourself!
Director: WILLIAM K. HOWARD. Screenplay: Guy Bolton and Lynn Starling. Original screen story: Guy Bolton. Photography: James Wong Howe. Film editor: Jack Murray. Art director: Gordon Wiles. Stills: Clarence Sinclair Bull. Copyright 10 July 1931 by Fox Film Corp. New York opening at the Roxy, 30 July 1931. 6,627 feet. 73½ minutes.
SYNOPSIS: A Grand Hotel on an ocean liner.
NOTES: Academy Award, Art Direction, Gordon Wiles (defeating A Nous la Liberte and Arrowsmith).
COMMENT: Photographer Jimmy Howe was once asked by an eager film student in the late 1960s, to name the director Howe regarded as the most skillful, the most talented, the most inventive and the most accomplished in the entire American film industry.
Jimmy had worked for many great directors. The eager student expected him to nominate Martin Ritt, Howard Hawks, Raoul Walsh, or perhaps John Frankenheimer.
To the student'sutter amazement, Howe unhestitatingly answered, "William K. Howard."
Would you believe, the student had never even heard of William K. Howard? Sad, but true!
Well, here in "Transatlantic", we find Howard at the zenith of his powers. In fact, "Transatlantic" is a superbly beautiful film in every respect. Even Edmund Lowe (under Howard's sympathetic direction) gives a thoroughly convincing performance.
Enough said! I don't want to detail all this film's merits. I would rather you seek it out and watch it yourself!
Myrna Loy
januszlvii14 January 2023
Transatlantic is a must for Myrna Loy fans. Myrna spelled Mirna here plays Kay Graham the wife of crooked banker Henry ( John Halliday). I know Myrna is only 6th in the credits ( Edmond Lowe ( Monty Greer) is the main star)), but she is the reason I have looked for years for this film. She actually plays a good woman here ( rare for any pre-Thin Man role), and finding any Pre MGM Loy film is extremely difficult, so seeing this film on OK. RU is a treat. The main woman in this movie is Lois Moran ( Judy Kramer), who does nothing for me ( except look Pretty ( although not in the Myrna Loy Class, but still better then Greta Nissen's character Sigrid Carline)). One highlight is the ending which I did not expect, but works very well, so I will not spoil. This movie was one of the Top 10 existing films that eluded me, so thank you to OK. RU for making it available. I give it 8/10 stars. Mostly for Myrna but for a very well done ending.
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