Newly-elected reform Mayor Jones celebrates his victory over the crooked political machine with a party at Earl Carroll's night club. Steve Kalkus, the defeated racketeer-politician, has Earl Carroll and several of his acts kidnapped, figuring the kidnapping coup will cause Jones to be laughed out of office. In Carroll's absence his assistant, Ramona Lisa, and his press agent, Barney Nelson put on the show themselves with the remaining talent, the chorus girls and also pressing into the entertainment cigarette girls, cloakroom girls, the doorman and others including oil heiresses Brenda Gusher and Cobina Gusher. Carroll and the other prisoners make their escape when a kidnapped juggling act sends their captors down in a barrage of beer bottles.
Kurt Neumann
Director
Ken Murray
Barney Nelson
Rose Hobart
Ramona Lisa
Elvia Allman
Cobina Gusher
Blanche Stewart
Brenda Gusher
Earl Carroll
Self
Lillian Cornell
Self
J. Carrol Naish
Steve Kalkus
Leila Moore
Lela Moore
Jack Norton
Alonzo Smith
Russell Hicks
Mayor Jones of Hollywood
William B. Davidson
Mayor Green of San Bernardino
America is the crux of the storyline: she is the only person in existence with the power to jump between universes. As central as America is to the Multiverse of Madness story, she somehow didn’t get that much to do.
The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship.
I am shocked and upset to report that the movie about a female car mechanic who meets the love of her life online featuring Katy O’Brien does not, in fact, have a lesbian storyline.
Portraying how easy it is to be an ally heavily benefits the majority audience. The more we encourage it, normalize it, and give people the tools to become one, the sooner we can co-exist peacefully.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.