GamerTab That was an excellent one.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Kayden This is a dark and sometimes deeply uncomfortable drama

JohnHowardReid This museum piece will interest only rabid Claudette Colbert fans and dyed-in-celluloid film buffs. James Cruze's direction is totally and inexcusably routine, almost all his scenes shot in either long, static takes or monotonously intercut reverse angles. Worse, the action scenes are few and poorly staged. Cruze uses very little camera movement, though admittedly what little he does employ is very effective — the camera pulling back from the piano to Torrence; the lengthy tracking shot of Colbert and Lyon taking Torrence home. Also on the reverse side of the ledger, the script is overloaded with banal dialogue — though Hobart Cavanaugh's tippling reporter is allowed one really amusing riposte — most of it delivered at a rapid pace by an extremely wooden Ben Lyon. But, luckily for us, Miss Colbert is as entrancing as ever. Even a rotten vehicle like this cannot dim her charm. Her presence is undoubtedly the film's sole recommendation — a fact realized by the photographer who gives her many attractive close-ups. Ernest Torrence, on the other hand, over-acts.

poj-man I popped this in for my 88 year old Mom to watch to stop her from dawdling. It is hard to find anything that will grab her interest. Momma was rapt and I was quite surprised.The story is also well written for the times. The dialog is not so stock as is wont for films of the time.Claudette Colbert absolutely shines in this pre-code picture. Her nude swimming and bondage scenes are spectacular for 1933. She also is a believable 1930's female.The rest of the cast is not bad. Ernest Torrance is a commendable lovable scoundrel.If you can appreciate an early cinema 1930's film you will enjoy this movie! I know I enjoyed it!

MartinHafer Joe (Ben Lyon) is a reporter whose beat is the waterfront. His big crusade is to stop a local fisherman (Eli--played by Ernest Torrence) who is smuggling in Chinese illegal aliens. However, when the harbor patrol searches his boat, they never find anything. In fact, one of these scenes is pretty horrifying as Eli has his mates truss up one of the illegals and toss him overboard when the patrol approaches! Joe is determined to prove Eli's evil deeds and he plays up to Eli's daughter (Claudette Colbert) to get inside information. And, using some of this information, he's able to learn about Eli's plans. But, by now Joe is in love with the daughter--and if he springs his trap he'll most likely lose her. What's he to do?! The film is pretty tough--featuring not only the murder of the 'Chink' (as the film refers to Chinese folks) but an impossible scene where a basking shark tears the leg off a man (though they are plankton feeders--not man eaters). And, because it's so tough it really kept my interest--even though it was a low-budget affair. However, at the end, the movie has a sappy ending that unfortunately detracts from all the rest of the film--with a redemption that seemed far-fetched to say the least. Still, it's worth seeing--particularly since it's free and you can downloaded from IMDb.

classicsoncall Wow, where to start? Here's a real gem from the pre-Code days that touches on just about every controversial subject that the Hayes Commission took to task in print and film. It starts out with reporter Joe Miller (Ben Lyon) investigating a nude moonlight swim, leading to a highly risqué exchange between himself and Julie Kirk (Claudette Colbert), discreetly positioned behind a large boulder. From there, the story moves to Miller's work on a Chinese smuggling operation, using his connection to Miss Kirk to try and get the goods on her father, a crusty seaman who plies the ocean for all sorts of contraband.I have to say, I wasn't quite prepared for some of the scenes depicted in the story. When the Coast Guard moves in to get a closer look at Captain Eli's (Ernest Torrence) fishing boat, the Captain has his crew drop a shackled Chinese immigrant overboard! All part of the risk involved as Eli would explain. "The poor Chink tried pretty hard to get into the United States" is Miller's reaction, and to make his point, brings the body back to the City Editor's desk! What!!?? There's also the scene aboard the Santa Madre prison ship, where Miller playfully traps Julie in manacles and a neck restraint in a classic bondage scene. The only thing missing was a tattered leopard print dress for Colbert, which might have crossed someone's mind if it wasn't such a completely different genre.The scene that really had me jumping out of my seat though was the shark chase by Eli and Ortegus (Maurice Black) in the small fishing boat. That was just outrageous, especially when they harpooned the fish and it ran away with the boat! That segment for me was just about as frightening as the opening scene of "Jaws"; I mean, who would ever even think of making a living in an occupation with that kind of hazard? Then think about this for a minute - how do you convince a Chinese immigrant that he's got to crawl inside a shark to make it to shore? Did stuff like this really happen? Well if nothing else, this is a unique film, with all the noirish atmosphere you could ask for in a flick from the Thirties. Perhaps a bit too dark in spots, making it hard to follow the action, but when accentuated with that lonesome old foghorn in the distance, you've got just the right touch. Made to order for a dark and rainy night, as Claudette Colbert might suggest, watching from the comfort of a roaring fireplace.