Rowland Brown was a prolific scenarist, but directed only a handful of films, the best being 1932's rather remarkable "Hell's Highway." This effort from the following year is interesting if not as successful. George Bancroft plays a bail bondsman who's somehow the kinpin of the town--at least its shadier quarters--and as such attracts a thrill-hungry debutante (Frances Dee). She proves trouble, particularly when they cross paths with his pining ex-flame's (Judith Anderson) genial ne'er-do-well brother (Chick Chandler), and the deb can hardly help throwing over semi-respectable George for an honest-to-god bank robber.
This movie has a fast pace, considerable esprit, and enough suggestive pre-Code titillation, though it's hardly in the "Baby Face" league of outrageousness. What makes it interesting is more the atmosphere than the plot, and the performances--both the ones that work and those that don't, quite. Bancroft is good, though maybe coasting a bit too much. Stage legend Anderson made her film debut (one short aside) here, and you can see why she didn't make another movie until Hitchcock and "Rebecca" seven years later--she's definitely got an unusual presence, but you can tell she just isn't comfortable with the medium yet. Ditto Blossom Seely, a then-famed vaudeville and nightclub singer who plays the latter here (she's basically onscreen just to sing three songs), but she too doesn't feel at ease, so she comes off as a somewhat colorless Mae West knockoff--I'm sure she had a lot more to offer than she communicated in a screen career that obviously didn't work out (this was the last of three films she made in 1933, her first and last such efforts).
Even if these performances are limited successes, they nonetheless add texture. And there are a number of very good performances, most notably by Chandler and Dee. He underlines the film's insouciant amorality by playing a compulsive stick-up-guy as a devil-may-care youth who doesn't commit crimes out of any need, but just because,..well, it's fun, and he can't help himself.
Dee was usually cast in nondescript ingenue roles, but she really digs into this change-of-pace character. The script doesn't spell it out, but the way she plays the society girl (who in addition to picking up shady men is a compulsive shoplifter) makes it absolutely clear that this woman is CRAZY--the kind of nuttiness that probably would have landed her in lockup already if she didn't have wealth and privilege protecting her, with a tycoon father eager to view her behavior just as mild eccentricity. She does have a couple eye-opening lines pretty much saying flat-out that she is looking for a bad man who will push her around--she's a debutante looking for a club-using caveman, the less respectable the better. It's quite the character, almost more than the movie knows what to do with, and Dee really throws herself into it, without becoming hammy. Pity her career didn't take a few more such left turns--she clearly relished the opportunity to be "bad." At a revival screening much, much later, she reportedly told the audience that in "Blood Money" she played "a masochistic kleptomaniac nymphomaniac," something you don't see everyday on screen (esp. in 1933), and to her credit that is exactly how it comes off.
This movie has a fast pace, considerable esprit, and enough suggestive pre-Code titillation, though it's hardly in the "Baby Face" league of outrageousness. What makes it interesting is more the atmosphere than the plot, and the performances--both the ones that work and those that don't, quite. Bancroft is good, though maybe coasting a bit too much. Stage legend Anderson made her film debut (one short aside) here, and you can see why she didn't make another movie until Hitchcock and "Rebecca" seven years later--she's definitely got an unusual presence, but you can tell she just isn't comfortable with the medium yet. Ditto Blossom Seely, a then-famed vaudeville and nightclub singer who plays the latter here (she's basically onscreen just to sing three songs), but she too doesn't feel at ease, so she comes off as a somewhat colorless Mae West knockoff--I'm sure she had a lot more to offer than she communicated in a screen career that obviously didn't work out (this was the last of three films she made in 1933, her first and last such efforts).
Even if these performances are limited successes, they nonetheless add texture. And there are a number of very good performances, most notably by Chandler and Dee. He underlines the film's insouciant amorality by playing a compulsive stick-up-guy as a devil-may-care youth who doesn't commit crimes out of any need, but just because,..well, it's fun, and he can't help himself.
Dee was usually cast in nondescript ingenue roles, but she really digs into this change-of-pace character. The script doesn't spell it out, but the way she plays the society girl (who in addition to picking up shady men is a compulsive shoplifter) makes it absolutely clear that this woman is CRAZY--the kind of nuttiness that probably would have landed her in lockup already if she didn't have wealth and privilege protecting her, with a tycoon father eager to view her behavior just as mild eccentricity. She does have a couple eye-opening lines pretty much saying flat-out that she is looking for a bad man who will push her around--she's a debutante looking for a club-using caveman, the less respectable the better. It's quite the character, almost more than the movie knows what to do with, and Dee really throws herself into it, without becoming hammy. Pity her career didn't take a few more such left turns--she clearly relished the opportunity to be "bad." At a revival screening much, much later, she reportedly told the audience that in "Blood Money" she played "a masochistic kleptomaniac nymphomaniac," something you don't see everyday on screen (esp. in 1933), and to her credit that is exactly how it comes off.