Copyright 29 October 1929 by Feature Productions. Released through United Artists: 16 November 1929. New York opening at the Rialto: 19 January 1930. 8 reels. 6,844 feet. 76 minutes.
SYNOPSIS: When a notorious cad (La Rocque) attempts to seduce the hero's (William Boyd's) young sister (Betty Bronson), the hero's wife (Stanwyck) decides to take matters into her own hands.
NOTES: A re-make of the 1921 Norma Talmadge vehicle, The Sign on the Door. Lew Cody played the villain. Herbert Brenon directed. Pollock's play opened at the Republic, Broadway, 19 December 1919, and ran 187 performances. Mary Ryan, Lowell Sherman and Lee Baker starred.
COMMENT: In her first talkie (and second movie) feisty Barbara Stanwyck expertly handles the sort of role she would continue to play for the rest of her career. With the exception of ZaSu Pitts (in a small role here), her co-players were not so fortunate. Why? From this evidence they just weren't sufficiently talented. Admittedly, our heroine has the best of the action (the scene in which she wanders distraught around the darkened stage is a knock-out), but with two or three exceptions (George Bunny is particularly effective), the other players are neither competent nor confident. Fitzmaurice's direction relies solidly on the techniques of a photographed play.
SYNOPSIS: When a notorious cad (La Rocque) attempts to seduce the hero's (William Boyd's) young sister (Betty Bronson), the hero's wife (Stanwyck) decides to take matters into her own hands.
NOTES: A re-make of the 1921 Norma Talmadge vehicle, The Sign on the Door. Lew Cody played the villain. Herbert Brenon directed. Pollock's play opened at the Republic, Broadway, 19 December 1919, and ran 187 performances. Mary Ryan, Lowell Sherman and Lee Baker starred.
COMMENT: In her first talkie (and second movie) feisty Barbara Stanwyck expertly handles the sort of role she would continue to play for the rest of her career. With the exception of ZaSu Pitts (in a small role here), her co-players were not so fortunate. Why? From this evidence they just weren't sufficiently talented. Admittedly, our heroine has the best of the action (the scene in which she wanders distraught around the darkened stage is a knock-out), but with two or three exceptions (George Bunny is particularly effective), the other players are neither competent nor confident. Fitzmaurice's direction relies solidly on the techniques of a photographed play.