Sally O'Neal is up against it, so broke she daren't even move back in with her father, J. Farrell MacDonald, whose boat needs all sorts of work to make it seaworthy again. She needs to find a rich sucker. What se finds is Hardie Allbright, who's got a few days before he leaves for Europe with pals George Grandee and Barbara Barondess. He's happy to spend a few days, just pal-ing around with her, paying all the bills, no strings attached. So she falls in love with him, never realizing what a crook he is, a confidence man of the first water. Until he drops his guard and the cops pick him up.
It's nice to see Miss O'Neal in a sound picture in which her accent doesn't peel paint off the walls, and she is excellent here. It's Hardie Allbright wh's a revelation. I'm used to seeing him in George Arliss vehicles, in which he plays a stuffy and complacent feller, old before his time. Here he seems natural and even energetic in a most attractive way.
This is, however, a rather poor Poverty Row picture, produced by Sigmund Neufeld and directed by Sam Newfield, and something has gone wrong with the script in the last few minutes. Or perhaps it's simply a bad copy, even though it looks like only four minutes have been trimmed. Let's give it the benefit of the doubt and enjoy the performances, shall we?
It's nice to see Miss O'Neal in a sound picture in which her accent doesn't peel paint off the walls, and she is excellent here. It's Hardie Allbright wh's a revelation. I'm used to seeing him in George Arliss vehicles, in which he plays a stuffy and complacent feller, old before his time. Here he seems natural and even energetic in a most attractive way.
This is, however, a rather poor Poverty Row picture, produced by Sigmund Neufeld and directed by Sam Newfield, and something has gone wrong with the script in the last few minutes. Or perhaps it's simply a bad copy, even though it looks like only four minutes have been trimmed. Let's give it the benefit of the doubt and enjoy the performances, shall we?
