A fascinating little pre-Code film, largely overlooked these days, but one which revels in its seedy criminal sub-plots and in which, tellingly, none of the characters ever seeks the help of the authorities to solve their problems. Lora (Barbara Stanwyck), whose only dream is to help people, manages to finagle her way into a nurse’s job by flirting with the right doctor, and her first job is to be rostered on the night shift, helping the chronically ill daughters of a wealthy family. She quickly discovers that something foul is afoot: the mother is only ever seen liquored up and partying, while the children’s doctor is a shady character with little interest in their health. Added to the mix is the black-liveried chauffeur (a clean-shaven Clark Gable), looking every bit the fascist footsoldier and with all the moral scruples that might suggest. Stanwyck gets to be a tough no-nonsense central character who is no-one’s stooge, though she falls into a wary relationship with bootlegger Mortie (Ben Lyon), who wins her heart in the end with some off-screen vigilante vengeance. The director, William Wellman, also has a propensity for showing his two nurses, Lora and Maloney (Joan Blondell), changing into their nurse’s uniforms, which would be leering if it weren’t all so tame by modern standards (though perhaps a little racier than the soon-to-be-enforced Production Code would allow for). Like many films of the period, it clocks in at a brisk running time, and is certainly worth looking out for.
Director William A. Wellman; Writer Oliver H.P. Garrett (based on the novel by Grace Perkins [as “Dora Macy”]); Cinematographer Barney McGill; Starring Barbara Stanwyck, Joan Blondell, Ben Lyon, Clark Gable; Length 72 minutes.
Seen at BFI Southbank (NFT1), London, Sunday 11 May 2014.