Barbara Stanwyck (Janet Haley), Joel McCrea (Jimmie Kildare), Lloyd Nolan (Hanlon), Stanley Ridges (Innes), Gaylord Pendleton (Interne Jones), Lee Bowman (Interne Weeks), Irving Bacon (Jeff), Barry Macollum (Stoolie Martin), Pierre Watkin (Dr Pearson), Harry Tyler (chief clerk), Charles Lane (Grote), James Bush (Haines), Fay Holden (Mother Teresa), Frank Bruno (Eddie), Anthony Nace (Dr Riley), Nick Lukats (interne), Jack Mulhall (mug), George Lynn (Joe), John "Skins" Miller (Weasel), Elmer Jerome (Wipey), Priscilla Lawson (nurse).
Directed by ALFRED SANTELL (in the words of John T. McManus) "with a blend of Hitchcock-like suspense and typically American verve." Screenplay: Rian James, Theodore Reeves. Based on a short story by Max Brand. Photography: Theodor Sparkuhl. Art directors: Hans Dreier and Roland Anderson. Set decorator: A.E. Freudeman. Film editor: Doane Harrison. Costumes designed by Travis Banton. Music director: Boris Morros. Assistant director: Roland Asher. Sound recording: Harry Lindgren, Louis Mesenkop. Producer: Ben Glazer.
Copyright 16 April 1937 by Paramount Pictures, Inc. New York opening at the Paramount: 5 May 1937. Sydney opening at the Prince Edward as a support to Go West, Young Man: 17 July 1937. 78 minutes.
COMMENT: Believe it or not, this is actually the first of the Kildare films. Of course Kildare fans will miss all the regular characters at Blair General Hospital (called Mountview Hospital here), the only familiar figure being Kildare himself. There is no Dr Gillespie. The head of the hospital here is a Dr. Pearson who bears no relation at all to kindly Dr. Carew.
Joel McCrea's Kildare, however, is the same character as that essayed by Lew Ayres; and the plot is the same kind of simplistic short story that tends to stretch mighty thin over a feature-length film which is long on dialogue and short on action.
Nonetheless, Alfred Santell's inventive direction manages to stir up audience interest, particularly in the first half-hour. In fact he sets the tone for his subsequent technique right from the very opening shot — an extremely long take from a dolly in which the camera darts in and out of cubicles where patients are being treated. When Stanwyck enters, he uses a very low angle tracking shot and the menace inherent in her whispered and elliptic conversation with Stanley Ridges is effectively put across by using a variety of angles combined with atmospheric lighting.
Stanwyck fits the role the screenplay requires like a glove. While her close-ups are attractive, however, her fans will be disappointed that her clothes are deliberately shabby. Combined with the large hat she wears to conceal her features, her wardrobe most successfully imparts an air of mystery and concealment.
Other roles are capably cast. Lee Bowman makes some impression, despite the brevity of his part; and Lloyd Nolan does his best to make his unbelievable character more credible. However, Irving Bacon steals the also-ran acting honors with his portrayal of a shady, one-eyed bartender.
Directed by ALFRED SANTELL (in the words of John T. McManus) "with a blend of Hitchcock-like suspense and typically American verve." Screenplay: Rian James, Theodore Reeves. Based on a short story by Max Brand. Photography: Theodor Sparkuhl. Art directors: Hans Dreier and Roland Anderson. Set decorator: A.E. Freudeman. Film editor: Doane Harrison. Costumes designed by Travis Banton. Music director: Boris Morros. Assistant director: Roland Asher. Sound recording: Harry Lindgren, Louis Mesenkop. Producer: Ben Glazer.
Copyright 16 April 1937 by Paramount Pictures, Inc. New York opening at the Paramount: 5 May 1937. Sydney opening at the Prince Edward as a support to Go West, Young Man: 17 July 1937. 78 minutes.
COMMENT: Believe it or not, this is actually the first of the Kildare films. Of course Kildare fans will miss all the regular characters at Blair General Hospital (called Mountview Hospital here), the only familiar figure being Kildare himself. There is no Dr Gillespie. The head of the hospital here is a Dr. Pearson who bears no relation at all to kindly Dr. Carew.
Joel McCrea's Kildare, however, is the same character as that essayed by Lew Ayres; and the plot is the same kind of simplistic short story that tends to stretch mighty thin over a feature-length film which is long on dialogue and short on action.
Nonetheless, Alfred Santell's inventive direction manages to stir up audience interest, particularly in the first half-hour. In fact he sets the tone for his subsequent technique right from the very opening shot — an extremely long take from a dolly in which the camera darts in and out of cubicles where patients are being treated. When Stanwyck enters, he uses a very low angle tracking shot and the menace inherent in her whispered and elliptic conversation with Stanley Ridges is effectively put across by using a variety of angles combined with atmospheric lighting.
Stanwyck fits the role the screenplay requires like a glove. While her close-ups are attractive, however, her fans will be disappointed that her clothes are deliberately shabby. Combined with the large hat she wears to conceal her features, her wardrobe most successfully imparts an air of mystery and concealment.
Other roles are capably cast. Lee Bowman makes some impression, despite the brevity of his part; and Lloyd Nolan does his best to make his unbelievable character more credible. However, Irving Bacon steals the also-ran acting honors with his portrayal of a shady, one-eyed bartender.