A real First National oddity, in that it's mostly a Damon Runyon comedy, part of a mini-Runyon wave then in Hollywood ("Lady for a Day," "Little Miss Marker"), but it's also a historical romance. There's a lengthy, sentimental flashback to 1880s New York, where the Sky Masterson-ish Barthelmess plays a different character altogether, a glum office boy romancing the boss's daughter. (He looks 30 years too old, and he's not the most natural Runyon hero in the modern sequences, either.) The screenwriter has the right ear for Runyonese, a mixture of modern '30s slang and fanciful preciousness, and it's certainly a handsome production, especially in the flashbacks. But the tone isn't consistent, the resolution is too pat (the title is something of a plot giveaway), and the always-interesting Ann Dvorak looks a little bored in a conventional-leading-lady role.
11 Reviews
Midnight Alibi Is Swan Song For Richard Barthelmess' Career At Warner Bros. Studio
gerrythree27 January 2008
Midnight Alibi is a contrived movie, but it is a chance to see Richard Barthelmess one last time as the star of a Warner Bros. movie. Midnight Alibi is the last of 23 movies (if the IMDb listing is correct) Richard Barthelmess starred in under his contract with First National Pictures. For his first movie under contract in 1927, the 150 minute long The Patent Leather Kid, Barthelmess earned an Oscar nomination. By 1934, Jack Warner was his boss, Warner Bros. having taken over First National and Barthelmess' contract.
In 1933, Hal Wallis was running First National as a separate production company with its own slate of movies. After Darryl Zanuck left as head of studio production in 1933, Wallis got Zanuck's job. Zanuck disagreed with how Warner was imposing "temporary" cuts of studio staff salaries while leaving the salaries of top executives untouched. Jack Warner combined First National with Warners Bros. in 1934, so all that remained of First National was just the name that followed, after a dash, Warner Bros. under the Warners logo.
During filming, Barthelmess must have known Jack Warner was not renewing his contract, a contract which expired in March 1934. Midnight Alibi is only 58 minutes long, made cheaply to get one more movie out of an actor who was still on salary. The movie's director, Alan Crosland, like Barthelmess, was on his way out. Warner seems to have let Crosland go within a year of cutting loose Barthelmess, a pretty shabby way to treat the director of The Jazz Singer and Don Juan. For that matter, Ann Dvorak, the co-star, was having problems, trying to avoid appearing in bad movies she thought would ruin her career, and going on suspension as a result. Until Jack Warner put her on permanent suspension.
Over 70 years later, it seems pretty incredible that Jack Warner would get rid of his stars, his production head (Zanuck) and much of the creative talent behind the camera while his studio was turning out about 48 movies a year in the pre-Code years of 1931-1933, movies made on shoe string budgets but with quality production values.
Richard Barthelmess movie fans did not figure into Jack Warners' equation. Barthelmess had a contract that paid him around $250,000 a year and allowed him to act like a producer in choosing the subject and script of his movies. His run of independence ran out when his contract was up. The same went for Ruth Chatterton, who was let go the same time as Barthelmess. William Powell, like Chatterton another actor Warners had raided from Paramount in 1931 (when Paramount was going into receivership), didn't renew his expiring contract, claiming he wanted to take roles on his own, at $60,000 per picture. Powell then signed with MGM, where he stayed on contract for 15 years. Warner Bros. was not a nice studio to work for, it was run like a sweatshop unless you had an ironclad contract like Barthelmess had.
The subject matter of Midnight Alibi, dealing in part with the old lady's dream of happiness lost, is an appropriate subject in one way. At Warners in the early 30s, the studio had a repertory company of actors turning out movies that have stood the test of time, directors Roy Del Ruth, Mervyn LeRoy and William Wellman were turning out 3 or 4 movies a year. Yet, in the space of year, from when Zanuck left Warners, Warners lost directors, actors (Loretta Young is another one who left) and writers. Much of the talent that left stopped working in Hollywood. Roy Del Ruth continued directing for 25 years but did not make movies again like those pre-Code classics he directed rapid fire at Warner Bros.
IMDb shows the release date of Midnight Alibi as July 15, 1934. From a recent article I read, Sunday, July 15, 1934 was the effective date when Production Code Administrator Joe Breen actually started censoring movies to conform with his rigid and puritanical views on life, completely detached from reality. One great movie career effectively ends at Warner Bros. with the release of Midnight Alibi, while the career of Joe Breen, an enemy of degenerate art (degenerate art is the term Nazis applied to art, especially from Jewish artists, not in conformance with Nazi beliefs), begins.
In 1933, Hal Wallis was running First National as a separate production company with its own slate of movies. After Darryl Zanuck left as head of studio production in 1933, Wallis got Zanuck's job. Zanuck disagreed with how Warner was imposing "temporary" cuts of studio staff salaries while leaving the salaries of top executives untouched. Jack Warner combined First National with Warners Bros. in 1934, so all that remained of First National was just the name that followed, after a dash, Warner Bros. under the Warners logo.
During filming, Barthelmess must have known Jack Warner was not renewing his contract, a contract which expired in March 1934. Midnight Alibi is only 58 minutes long, made cheaply to get one more movie out of an actor who was still on salary. The movie's director, Alan Crosland, like Barthelmess, was on his way out. Warner seems to have let Crosland go within a year of cutting loose Barthelmess, a pretty shabby way to treat the director of The Jazz Singer and Don Juan. For that matter, Ann Dvorak, the co-star, was having problems, trying to avoid appearing in bad movies she thought would ruin her career, and going on suspension as a result. Until Jack Warner put her on permanent suspension.
Over 70 years later, it seems pretty incredible that Jack Warner would get rid of his stars, his production head (Zanuck) and much of the creative talent behind the camera while his studio was turning out about 48 movies a year in the pre-Code years of 1931-1933, movies made on shoe string budgets but with quality production values.
Richard Barthelmess movie fans did not figure into Jack Warners' equation. Barthelmess had a contract that paid him around $250,000 a year and allowed him to act like a producer in choosing the subject and script of his movies. His run of independence ran out when his contract was up. The same went for Ruth Chatterton, who was let go the same time as Barthelmess. William Powell, like Chatterton another actor Warners had raided from Paramount in 1931 (when Paramount was going into receivership), didn't renew his expiring contract, claiming he wanted to take roles on his own, at $60,000 per picture. Powell then signed with MGM, where he stayed on contract for 15 years. Warner Bros. was not a nice studio to work for, it was run like a sweatshop unless you had an ironclad contract like Barthelmess had.
The subject matter of Midnight Alibi, dealing in part with the old lady's dream of happiness lost, is an appropriate subject in one way. At Warners in the early 30s, the studio had a repertory company of actors turning out movies that have stood the test of time, directors Roy Del Ruth, Mervyn LeRoy and William Wellman were turning out 3 or 4 movies a year. Yet, in the space of year, from when Zanuck left Warners, Warners lost directors, actors (Loretta Young is another one who left) and writers. Much of the talent that left stopped working in Hollywood. Roy Del Ruth continued directing for 25 years but did not make movies again like those pre-Code classics he directed rapid fire at Warner Bros.
IMDb shows the release date of Midnight Alibi as July 15, 1934. From a recent article I read, Sunday, July 15, 1934 was the effective date when Production Code Administrator Joe Breen actually started censoring movies to conform with his rigid and puritanical views on life, completely detached from reality. One great movie career effectively ends at Warner Bros. with the release of Midnight Alibi, while the career of Joe Breen, an enemy of degenerate art (degenerate art is the term Nazis applied to art, especially from Jewish artists, not in conformance with Nazi beliefs), begins.
SPOILERS -- gangsta flick from the 1930s
ksf-22 December 2016
Warning: Spoilers
SPOILERS -- Cute, shortie gangsta flick from 1934. Back in the day when the mobs were running everything, and rival bosses had it in for each other. This one is complicated by the fact that McGowan (Richard Barthelmess) has fallen for rival mobster's sister Joan ( Ann Dvorak). The actors had both been in the business for quite a while, so the acting was just fine. Barthelmess had been making silents for YEARS. McGowan meets up with Abigail Ardsley, who has been a rich, old recluse for many years. We flash back to her story, where she too has a sad love story to tell, and she wants McGowan to learn from her mistake. There are some big flaws in the script here, but the basic story is a good one, if you can overlook some big problems. The ending, and the reason Abigail gives for telling him he MUST face Joan's brother and force a confrontation. as we find out, that didn't work out well for her, either! The end of the court trial is just preposterous. One witness that contradicts all the other witnesses. and the fact that the case is dismissed after hearing testimony... why did the jury not get to deliberate?? There's one naughty love scene where they are out in the garden during the flashback.... this must have been made just before the Hays Code kicked in... that scene wouldn't have been allowed later on. It's a fun watch, if you can overlook some big issues. Directed by Alan Crosland, who had done the Jazz Singer! Crosland also died quite young, a couple years after making this one... bad car accident.
The End of the Road
Michael_Elliott11 September 2015
Midnight Alibi (1934)
** 1/2 (out of 4)
Gangster Lance McGowan (Richard Barthelmess) is on a ship heading back to America when he falls in love with the beautiful Joan (Ann Dvorak). The two don't really find out anything about the other but soon McGowan learns that she's the sister of his rival (Robert Barrat) who he robbed soon after getting back on shore. Now McGowan wants to marry the woman but doesn't know how to get past her brother.
MIDNIGHT ALIBI was a "B" picture that happened to be Barthelmess' final film at Warner Bros. It's interesting to note that the actor became a star after appearing in a few D.W. Griffith films and he remained quite popular throughout the silent era and the early part of the decade but his star began to lose its shine and he found his career pretty much over. This film here certainly wasn't a great way to go out but if you're a fan of the actor or in low-budget "B" movies then there's some nice entertainment to be had here.
Barthelmess is certainly the highlight here as he gives a nice performance as the gangster who finds himself conflicted about what his heart is saying and what he should do in his gangster land. I thought the actor was quite believable and didn't just sleepwalk through the part. Dvorak doesn't have much to do but it's always nice seeing her. Barrat is good as the heavy and Helen Lowell is very good in a brief but important role. Helen Chandler is also good in her small part.
The film manages to be entertaining at just 58 minutes even though there's certainly nothing too original or ground-breaking here. This was meant to play under a bigger and better film and as long as you don't expect too much from it you should find it entertaining enough.
** 1/2 (out of 4)
Gangster Lance McGowan (Richard Barthelmess) is on a ship heading back to America when he falls in love with the beautiful Joan (Ann Dvorak). The two don't really find out anything about the other but soon McGowan learns that she's the sister of his rival (Robert Barrat) who he robbed soon after getting back on shore. Now McGowan wants to marry the woman but doesn't know how to get past her brother.
MIDNIGHT ALIBI was a "B" picture that happened to be Barthelmess' final film at Warner Bros. It's interesting to note that the actor became a star after appearing in a few D.W. Griffith films and he remained quite popular throughout the silent era and the early part of the decade but his star began to lose its shine and he found his career pretty much over. This film here certainly wasn't a great way to go out but if you're a fan of the actor or in low-budget "B" movies then there's some nice entertainment to be had here.
Barthelmess is certainly the highlight here as he gives a nice performance as the gangster who finds himself conflicted about what his heart is saying and what he should do in his gangster land. I thought the actor was quite believable and didn't just sleepwalk through the part. Dvorak doesn't have much to do but it's always nice seeing her. Barrat is good as the heavy and Helen Lowell is very good in a brief but important role. Helen Chandler is also good in her small part.
The film manages to be entertaining at just 58 minutes even though there's certainly nothing too original or ground-breaking here. This was meant to play under a bigger and better film and as long as you don't expect too much from it you should find it entertaining enough.
She couldn't be any cuter if she was carrying around a Tweety Bird in a cage.
mark.waltz12 June 2020
Warning: Spoilers
I'm referring to the 80 something year old held in Lowell, the type of sweet old lady whom everyone rises for when she walks into a room. There's a sense of nostalgia when you see someone like her, so gentle and Regal, filled with kind and I didn't forget it just all that angels are made of. In our generation, we haven't seen someone like this probably since Gloria Stuart in "Titanic" (or the occasional presence of a beloved star at an award show), so Ms. Lowell easily walks off with the film. The Broadway star of the 1870s only made a handful of films 60 something years later, and her diverse credits and roles made her stand out even if her time on film was short.
Lowell portrays an elderly woman, simply known in the credits as "the old doll" (how Damon Runyon of author Damon Runyon), who has not locked her door in 50 years, and when gangster Richard Barthelmess in, she treats him as if he is a long-lost relative that she's been waiting for. Ironically, he is an exact look-alike of an old lover of hers who was killed on the very same doorstep after an elaborate party where her father expressed his disapproval. Now in the current day, Barthelmess is facing the same issue with his girlfriend and Dvorak's brother, and when the brother is killed by one of his henchmen, Barthelmess ends up on trial for murder. But the arrival of a surprise witness offers a happy ending with an ironic revelation that is silly and sappy but may start to tear ducts fluttering.
This sentimental old programmer is surprisingly good in spite of its implausibilities, and the flashbacks to 50 years before our elaborate and deliciously melodramatic. Helen Chandler of "Dracula" fame plays the younger version of Lowell, and it's a reminder that just because someone has white hair and wrinkles doesn't mean that at one point in their life, they were the most beautiful person in their city. Barthelmess is better in the current story than the flashbacks, and he has a nice chemistry with Lowell. In fact, he had better chemistry with her than with either Chandler or Dvorak. The mixture of crime drama, light comedy and touching romance makes for an interesting hour that won't text the brain which will leave the viewer dabbing their eye with a Kleenex.
Lowell portrays an elderly woman, simply known in the credits as "the old doll" (how Damon Runyon of author Damon Runyon), who has not locked her door in 50 years, and when gangster Richard Barthelmess in, she treats him as if he is a long-lost relative that she's been waiting for. Ironically, he is an exact look-alike of an old lover of hers who was killed on the very same doorstep after an elaborate party where her father expressed his disapproval. Now in the current day, Barthelmess is facing the same issue with his girlfriend and Dvorak's brother, and when the brother is killed by one of his henchmen, Barthelmess ends up on trial for murder. But the arrival of a surprise witness offers a happy ending with an ironic revelation that is silly and sappy but may start to tear ducts fluttering.
This sentimental old programmer is surprisingly good in spite of its implausibilities, and the flashbacks to 50 years before our elaborate and deliciously melodramatic. Helen Chandler of "Dracula" fame plays the younger version of Lowell, and it's a reminder that just because someone has white hair and wrinkles doesn't mean that at one point in their life, they were the most beautiful person in their city. Barthelmess is better in the current story than the flashbacks, and he has a nice chemistry with Lowell. In fact, he had better chemistry with her than with either Chandler or Dvorak. The mixture of crime drama, light comedy and touching romance makes for an interesting hour that won't text the brain which will leave the viewer dabbing their eye with a Kleenex.
the end justifies the means
SnoopyStyle20 September 2020
Lance McGowan (Richard Barthelmess) returns to New York City after a lousy time gambling on a ship. He starts pushing his way around the town's gambling dens and new mob boss Angie Morley has had enough. To make matters worst, he rekindles his shipboard romance with Angie's younger sister Joan Morley. After getting shot at, he escapes into rich recluse Abigail Ardsley's mansion. He looks exactly like Abigail's former beau Robert Anders (Richard Barthelmess). She recounts their story well into the night. Lance tries to make peace with Angie but terrible events unfold. Lance is arrested for Angie's murder.
Richard Barthelmess gives a fine performance as a gangster with some rooting interest. It doesn't mean that this movie is that good or that his character is actually that nice. He's not a great talkie leading man and his star would fade after the silent era. The flashback section is rather dull except for a bit of pre-Code sexuality. The ending is more the end justifies the means rather than poetic justice. I'm not in love with this but it's fine enough.
Richard Barthelmess gives a fine performance as a gangster with some rooting interest. It doesn't mean that this movie is that good or that his character is actually that nice. He's not a great talkie leading man and his star would fade after the silent era. The flashback section is rather dull except for a bit of pre-Code sexuality. The ending is more the end justifies the means rather than poetic justice. I'm not in love with this but it's fine enough.
Nice and Clever Damon Runyan Movie
jayraskin24 May 2020
This movie is a pleasure to watch. It is a romantic gangster comedy. It moves quickly, has several nice plot twists, and allows some involvement with the Richard Bartelmess - Ann Dvorak characters.
Bartelmess looks and acts a lot like Robert Armstrong (king Kong) here. After seeing him in several heroic films, it is a little strange seeing him playing a gangster. He's fine and there is a good chemistry with Ann Dvorak. Helen Chandler appears in a couple of flashback scenes with Bartelmess and nearly steals the movie.
Basically, it is an entertaining hour long film that holds up well after 86 years.
Bartelmess looks and acts a lot like Robert Armstrong (king Kong) here. After seeing him in several heroic films, it is a little strange seeing him playing a gangster. He's fine and there is a good chemistry with Ann Dvorak. Helen Chandler appears in a couple of flashback scenes with Bartelmess and nearly steals the movie.
Basically, it is an entertaining hour long film that holds up well after 86 years.
End of the Line for Richard Barthelmess at Warner Bros.
wes-connors12 February 2011
Returning from Europe to New York City, suave Irish gangster Richard Barthelmess (as Lance McGowan) falls in love with sexy Ann Dvorak (as Joan Morley), then learns she's the kid sister of rival gambling crime lord Robert Barrat (as "Angie the Ox"). When accused of Mr. Barrat's murder, Mr. Barthelmess receives assistance from wealthy old Helen Lowell (as Abigail "The Old Doll" Ardsley). Barthelmess had taken refuge in Ms. Lowell's unlocked mansion during an attempt on his life. Barthelmess, who resembles a lover from Lowell 's past, may receive a "Midnight Alibi" from the old woman
Based on a Damon Runyon story ("The Old Doll's House"), "Midnight Alibi" helped mark the end of Richard Barthelmess' reign as a top Hollywood star. It was the last film Barthelmess made under his lucrative contract with Warner Bros
Barthelmess will always be remembered for his performances in three extraordinary films; "Broken Blossoms" (1919), "Way Down East" (1920), and "Tol'able David" (1921). He continued to be a popular player; peaking again during the transition from "silent" to talking films, Barthelmess was in Quigley Publications' "Top Ten" box office stars for 1928 (at #8), 1929 (#7), and 1930 (#8). But, by 1934, the films made by one of the industry's highest-paid stars weren't making any money
So, for "Midnight Alibi", the budget for a Barthelmess picture was necessarily lowered; nevertheless, director Alan Crosland and cameraman William Rees make it look classily miscast
There is a charming flashback to the year 1888, with Barthelmess (as Robert Anders) romancing beautiful young Helen Chandler (the younger version of present-day "Old Doll" character). In this vignette, Barthelmess wears a moustache and more attractive hairstyle; for some odd reason, he and the studio preferred a make-up style which made Barthelmess look like he was posing for pasty 1920s publicity photographs. The difference in Barthelmess' appearance (and performance) is startling. If he weren't so miscast and made-up, Barthelmess might have successfully extended his stardom
***** Midnight Alibi (7/14/34) Alan Crosland ~ Richard Barthelmess, Ann Dvorak, Helen Lowell, Helen Chandler
Based on a Damon Runyon story ("The Old Doll's House"), "Midnight Alibi" helped mark the end of Richard Barthelmess' reign as a top Hollywood star. It was the last film Barthelmess made under his lucrative contract with Warner Bros
Barthelmess will always be remembered for his performances in three extraordinary films; "Broken Blossoms" (1919), "Way Down East" (1920), and "Tol'able David" (1921). He continued to be a popular player; peaking again during the transition from "silent" to talking films, Barthelmess was in Quigley Publications' "Top Ten" box office stars for 1928 (at #8), 1929 (#7), and 1930 (#8). But, by 1934, the films made by one of the industry's highest-paid stars weren't making any money
So, for "Midnight Alibi", the budget for a Barthelmess picture was necessarily lowered; nevertheless, director Alan Crosland and cameraman William Rees make it look classily miscast
There is a charming flashback to the year 1888, with Barthelmess (as Robert Anders) romancing beautiful young Helen Chandler (the younger version of present-day "Old Doll" character). In this vignette, Barthelmess wears a moustache and more attractive hairstyle; for some odd reason, he and the studio preferred a make-up style which made Barthelmess look like he was posing for pasty 1920s publicity photographs. The difference in Barthelmess' appearance (and performance) is startling. If he weren't so miscast and made-up, Barthelmess might have successfully extended his stardom
***** Midnight Alibi (7/14/34) Alan Crosland ~ Richard Barthelmess, Ann Dvorak, Helen Lowell, Helen Chandler
Amazingly good for a B-movie.
planktonrules26 September 2021
While many people think 'B-movie' means bad movie, the term actually originated to describe the second and lesser film played at a double feature. The A-picture was the longer, more costly and more prestigious film in most cases and the B was made cheaper, more quickly and ran from 50-70 minutes...with most clocking in at about 60. So, when you look at "Midnight Alibi" on IMdb, you'll notice it's 58 minutes in length...clearly a B from Warner Brothers. Despite this, it's actually a very, very good film.
The story begins with Lance McGowan (Richard Barthelmess) returning from a cruise. During this trip, he met and fell hard for Joan (Ann Dvorak)...but they each go their separate ways. Soon you learn that Lance is a gangster....and his nemesis is Angie (Robert Barrat). This is a SERIOUS problem because soon you learn that he has a sister....and it's Joan!! Clearly, any sort of romance between Lance and Joan is going to be an uphill battle...especially when Angie orders some of his men to kill Lance. But they miss and Lance takes shelter in an old woman's mansion. What's next? Well, see the film.
What I liked most about this film is Lance's scenes with the old lady, Abigail Ardsley (Helen Lowell). It is very charming...as is the flashback scene when Abigail befriends Lance and tells him her life story. Overall, a film that managed to rise about the reputation of most Bs, as the story is quite well written as well as the acting. Well worth seeing...and rather charming for a gangster tale!
The story begins with Lance McGowan (Richard Barthelmess) returning from a cruise. During this trip, he met and fell hard for Joan (Ann Dvorak)...but they each go their separate ways. Soon you learn that Lance is a gangster....and his nemesis is Angie (Robert Barrat). This is a SERIOUS problem because soon you learn that he has a sister....and it's Joan!! Clearly, any sort of romance between Lance and Joan is going to be an uphill battle...especially when Angie orders some of his men to kill Lance. But they miss and Lance takes shelter in an old woman's mansion. What's next? Well, see the film.
What I liked most about this film is Lance's scenes with the old lady, Abigail Ardsley (Helen Lowell). It is very charming...as is the flashback scene when Abigail befriends Lance and tells him her life story. Overall, a film that managed to rise about the reputation of most Bs, as the story is quite well written as well as the acting. Well worth seeing...and rather charming for a gangster tale!
Gangster In Love
view_and_review24 April 2024
Warning: Spoilers
"Midnight Alibi" was about a gangster in love with his nemesis's sister. It was tantamount to a lightweight "Westside Story."
A gangster named Lance McGowan (Richard Barthelmess) met a pretty girl named Joan Morley (Ann Dvorak) on a boat. The two hit it off really well then went their separate ways once they reached land. Later Lance saw Joan and found out that Joan was Angie Morley's baby sister. That was going to be a huge problem considering Angie (Robert Barrat) was a rival gangster and Lance had just recently ripped off some of Angie's casinos.
One night, when Lance was on the run from Angie's guys, he entered the home of an old lady named Abigail Ardsley (Helen Lowell). Abigail then began to regale Lance of her lost lover some forty-five years earlier. Abigail was an eighteen-year-old young lady of wealth in 1888 and she was in love with her father's clerk (also played by Richard Barthelmess). Abigail's father, Jonathan (Henry O'Neill), was unequivocally opposed to his clerk marrying his daughter. Abigail (the older version) told Lance this story because he looked just like her lost lover.
Lance saw himself like the clerk in the story with his situation with Joan and her brother Angie. Just like the clerk was denied being with his beloved, so was Lance. The only problem with the analogies is that Robert Anders (the clerk) was a clerk while Lance was a gangster. There's a far cry between the two. Jonathan Ardsley kept his daughter away from Robert Anders due to classism. Angie wanted to keep his sister away from Lance because 1.) Lance was a gangster and 2.) he was his rival. Angie had every reason to dislike Lance.
When Abigail told her story about her lost lover, she mentioned that she never spoke to her father again and that she remained single the rest of her life. Maybe that's why she was sixty-three yet looked eighty-three. She remained a lonely old maid for forty-five years because her sweetheart was killed. That's extreme.
We knew that the love between Lance and Joan wouldn't have the same outcome as the love between Abigail and Robert. Robert was shot and killed by Abigail's father when he caught him on his property late at night. We knew that Lance had to unite with Joan because there had to be a happy ending.
Lance did get to unite with Joan thanks to Abigail.
In a very improbable string of events, Lance went to Angie's HQ to talk it out with him about Joan. It was a risky move that was also very dumb considering Angie just tried to kill him the day before. Even if Angie hadn't tried to kill him, he was still risking his neck to meet Angie on his stomping grounds.
Lance boldly walked into Angie's place of business and asked one of his men where Angie was. Like a fool, Angie's man told Lance where he was.
I don't know any gang members who give up their boss's location to his enemy with a simple request. Not only that, no one even frisked him before allowing him to go upstairs to Angie's private office. I've seen better security at Walgreens.
Lance went into Angie's office where Angie plainly said that there was absolutely no way he was going to allow him to see Joan. At the same time one of Lance's men came into the establishment to check on his boss just to make sure he was safe being in Angie's joint alone. And again, Angie's security was so lax that another guy made it up to his private office with no interference.
Right when Angie pulled a gun from his drawer to dispense with the pesky Lance, Lance's man burst through the door and killed Angie. You knew one thing: this was going to make it easier for Lance and Joan to get together. Angie was their single biggest impediment. Even if Joan believed Lance killed her brother, he'd be able to assure her that he didn't and then they could go on to be a happy couple.
Lance was arrested for the murder of Joan's brother. The evidence was pretty damning and he didn't have a sufficient alibi; that was until Abigail strolled into the courthouse defying all legal procedure to be a witness for the defense (Lance). When she walked in it was as if royalty had entered the building. Everyone gasped and gazed and was deferential towards her, even the judge. So, when she said that Lance left her home at midnight (thereby making it impossible for him to have shot Angie), the case was summarily dismissed by the judge for lack of evidence.
So, a lonely old lady perjured herself to protect a guy who looked like her lost lover. It was sappy and it was very deus ex machina. Lance was all but convicted, but when Abigail said that he was at her home when her "clock read twelve," then that's all it took to override all the other testimonies and witnesses.
If our hearts were uneasy because a decent old lady perjured herself for a gangster in love, then she set them at ease a bit later. When Lance paid her a visit and said, "Thanks for everything. I'm only sorry that you had to lie for me."
She responded, "But I didn't. That clock did indicate twelve o'clock when you left. When Robert died in my arms I stopped all the clocks. So for forty-five years it has always been midnight in this house."
How pathetic.
I understand the implication here, but I still think it's pathetic. The implication is that she loved Robert so deeply, and losing him was so tragic that she stopped living. No, she didn't commit suicide, but she stopped the clocks thereby effectively stopping time, and she never moved on with her life--never met another man, never left her home, never did anything. So, for forty-five years she'd been in mourning. If this was a scary movie she'd be La Llorona or some other tormented ghost.
"Midnight Alibi" went for sweet sad romance and I wasn't a fan. Spare me the tragic romance stuff unless you can weave it into a badass story that has some teeth.
Free on Odnoklassniki.
A gangster named Lance McGowan (Richard Barthelmess) met a pretty girl named Joan Morley (Ann Dvorak) on a boat. The two hit it off really well then went their separate ways once they reached land. Later Lance saw Joan and found out that Joan was Angie Morley's baby sister. That was going to be a huge problem considering Angie (Robert Barrat) was a rival gangster and Lance had just recently ripped off some of Angie's casinos.
One night, when Lance was on the run from Angie's guys, he entered the home of an old lady named Abigail Ardsley (Helen Lowell). Abigail then began to regale Lance of her lost lover some forty-five years earlier. Abigail was an eighteen-year-old young lady of wealth in 1888 and she was in love with her father's clerk (also played by Richard Barthelmess). Abigail's father, Jonathan (Henry O'Neill), was unequivocally opposed to his clerk marrying his daughter. Abigail (the older version) told Lance this story because he looked just like her lost lover.
Lance saw himself like the clerk in the story with his situation with Joan and her brother Angie. Just like the clerk was denied being with his beloved, so was Lance. The only problem with the analogies is that Robert Anders (the clerk) was a clerk while Lance was a gangster. There's a far cry between the two. Jonathan Ardsley kept his daughter away from Robert Anders due to classism. Angie wanted to keep his sister away from Lance because 1.) Lance was a gangster and 2.) he was his rival. Angie had every reason to dislike Lance.
When Abigail told her story about her lost lover, she mentioned that she never spoke to her father again and that she remained single the rest of her life. Maybe that's why she was sixty-three yet looked eighty-three. She remained a lonely old maid for forty-five years because her sweetheart was killed. That's extreme.
We knew that the love between Lance and Joan wouldn't have the same outcome as the love between Abigail and Robert. Robert was shot and killed by Abigail's father when he caught him on his property late at night. We knew that Lance had to unite with Joan because there had to be a happy ending.
Lance did get to unite with Joan thanks to Abigail.
In a very improbable string of events, Lance went to Angie's HQ to talk it out with him about Joan. It was a risky move that was also very dumb considering Angie just tried to kill him the day before. Even if Angie hadn't tried to kill him, he was still risking his neck to meet Angie on his stomping grounds.
Lance boldly walked into Angie's place of business and asked one of his men where Angie was. Like a fool, Angie's man told Lance where he was.
I don't know any gang members who give up their boss's location to his enemy with a simple request. Not only that, no one even frisked him before allowing him to go upstairs to Angie's private office. I've seen better security at Walgreens.
Lance went into Angie's office where Angie plainly said that there was absolutely no way he was going to allow him to see Joan. At the same time one of Lance's men came into the establishment to check on his boss just to make sure he was safe being in Angie's joint alone. And again, Angie's security was so lax that another guy made it up to his private office with no interference.
Right when Angie pulled a gun from his drawer to dispense with the pesky Lance, Lance's man burst through the door and killed Angie. You knew one thing: this was going to make it easier for Lance and Joan to get together. Angie was their single biggest impediment. Even if Joan believed Lance killed her brother, he'd be able to assure her that he didn't and then they could go on to be a happy couple.
Lance was arrested for the murder of Joan's brother. The evidence was pretty damning and he didn't have a sufficient alibi; that was until Abigail strolled into the courthouse defying all legal procedure to be a witness for the defense (Lance). When she walked in it was as if royalty had entered the building. Everyone gasped and gazed and was deferential towards her, even the judge. So, when she said that Lance left her home at midnight (thereby making it impossible for him to have shot Angie), the case was summarily dismissed by the judge for lack of evidence.
So, a lonely old lady perjured herself to protect a guy who looked like her lost lover. It was sappy and it was very deus ex machina. Lance was all but convicted, but when Abigail said that he was at her home when her "clock read twelve," then that's all it took to override all the other testimonies and witnesses.
If our hearts were uneasy because a decent old lady perjured herself for a gangster in love, then she set them at ease a bit later. When Lance paid her a visit and said, "Thanks for everything. I'm only sorry that you had to lie for me."
She responded, "But I didn't. That clock did indicate twelve o'clock when you left. When Robert died in my arms I stopped all the clocks. So for forty-five years it has always been midnight in this house."
How pathetic.
I understand the implication here, but I still think it's pathetic. The implication is that she loved Robert so deeply, and losing him was so tragic that she stopped living. No, she didn't commit suicide, but she stopped the clocks thereby effectively stopping time, and she never moved on with her life--never met another man, never left her home, never did anything. So, for forty-five years she'd been in mourning. If this was a scary movie she'd be La Llorona or some other tormented ghost.
"Midnight Alibi" went for sweet sad romance and I wasn't a fan. Spare me the tragic romance stuff unless you can weave it into a badass story that has some teeth.
Free on Odnoklassniki.
A Sentimental End To A Starring Career
boblipton13 May 2023
Gambler Richard Barthelmess meets Ann Dvorak on ship while returning from Europe, and they fall in love. However, her brother, Robert Barratt, is also a tough egg, and he orders Barthelmess off with guns. He takes refuge in Helen Lowell's house, where she tells him the story of the man she loved when she was eighteen, also played by Barthelmess.
It's a charming and sentimental movie based, on, of all things, a Damon Runyon story, and not only is Miss Lowell an absolute sweetheart, but so is Helen Chandler, playing her a half century earlier. But the movie is peculiarly brief.
It was the last movie Barthelmess made under his long-running contract with First National (now Warner Brothers). He had aged out of his youthful star image, his efforts to retain his looks had failed several years earlier due to unsuccessful plastic surgery, and he was aging into a stoop-shouldered man, who could star act up a storm..... but that's not what a star is. So Barthelmess would head out, receive fewer and less successful roles, and give one final great performance in Only Angels Have Wings. He would join the Naval Reserve in 1942, and after the War, retire to Long Island, a rich man. He died in 1965 at the age of 68.
It's a charming and sentimental movie based, on, of all things, a Damon Runyon story, and not only is Miss Lowell an absolute sweetheart, but so is Helen Chandler, playing her a half century earlier. But the movie is peculiarly brief.
It was the last movie Barthelmess made under his long-running contract with First National (now Warner Brothers). He had aged out of his youthful star image, his efforts to retain his looks had failed several years earlier due to unsuccessful plastic surgery, and he was aging into a stoop-shouldered man, who could star act up a storm..... but that's not what a star is. So Barthelmess would head out, receive fewer and less successful roles, and give one final great performance in Only Angels Have Wings. He would join the Naval Reserve in 1942, and after the War, retire to Long Island, a rich man. He died in 1965 at the age of 68.
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