The House on 56th Street - 1933 ****

The first Kay Francis movie I had ever seen, but it certainly won't be the last. 

Francis plays Peggy, a showgirl who falls desperately in love with a wealthy man named Monte. They move into an extravagant house on 56th street and set about starting a family. However, not long after her daughter is born, Peggy is confronted by an old lover who was spurned by Peggy a while back, resulting in a violent row and the lover dying. Peggy is arrested and sent to jail for a considerable amount of time. During this time her daughter is told that her mother is dead, and Monte is killed during the war. When she is released from jail she gets a job in a gambling house, which with cruel irony is the house she used to live in with Monte. In an even more twisted and tragic irony, her daughter gets herself into horrible trouble at the gambling house, whilst Peggy can only sit back and helplessly watch. 

I found this to be a really enthralling story, and enjoyed watching Kay Francis. She's a very passionate actor and positively lights up the screen with every word she speaks and every look she gives. 

Double Harness - 1933 ***

Great fun to discover even more actresses from the 30s I have never heard of before. Ann Harding being another one. I had always assumed that William Powell simply acted with either Loy or Francis, but he actually has pretty good chemistry with Harding in this enjoyable romp. 

After finding out that her sister is about to get married, Joan starts to panic that she will be an old maid forever, and manages to persuades the dashing, philandering John to marry her, without him realising that it's actually just for his considerable wealth. By the time he does discover Joan's true intentions she genuinely has fallen in love with him, but is it too late?

I love William Powell so I'm incredibly biased about this film. It might not be the best plot or the best quality, but it's lovely to see anyway.

Police Patrol - 1933 ***

Madge Bellamy. The name I had often heard but never seen on screen until now. To say she's a cutie is an understatement. She had a quality that mixed Harlow's naughty sex appeal, with Marion Davies and Constance Bennett's sense of humour, added with a touch of Kay Francis. She doesn't have a huge window to show off her talents here, but what she does have she portrays well, and you can't help but stare. Being a famous star of the 20s, it would be fair to say that she is maybe past her peak here, but still enjoyable to watch. She plays a good natured girl named Lil, who has to contend with two cops who both fall for her, and trick each other into getting into trouble in order to keep her. Standard film of it's time, but fun to watch nevertheless.