"He'll get you on a charge of habeas corpuscle", probably one of the worst movie malapropisms ever, and one that Slip and Sach from The Bowery Boys series would have been embarrassed by. This racing drama focuses on the orphaned Jackie Searle whose father was killed on the track and taken in by his father's pal James Murray in spite of the fact that next door neighbors, the Cohens (Ann Brody and Mike Donlin) want to adopt him. This nice older Jewish couple with the heavy Yiddish accents are both funny and touching, never able to have a child themselves, but some viewers might find them over the top and a bit irritating. In spite of that, you can't help but admit that they are a lovable couple even though it's Donlin who has to spout out the malapropism to end all malapropisms.
While Searle ends up in military school, Murray gets into some trouble and goes into hiding working as a cab driver and staying with the Cohens, and a female reporter (Joan Marsh) ends up on Murray's trail hoping for a big scoop. This film is obviously made on a D grade budget, but it definitely has those elements of independent films of the 1930's poverty road system that allowed it to be a bit more blatant on certain topics. That works both for and against the film as it can be tough at one moment and sappy and unbelievable at another. The print is choppy as are most early 30's films in the public domain, so sometimes the consistency seems a bit off. But it's obvious that they did with it what they could, so while a product of its time, it definitely has some artistic interest even if majorly flawed.
While Searle ends up in military school, Murray gets into some trouble and goes into hiding working as a cab driver and staying with the Cohens, and a female reporter (Joan Marsh) ends up on Murray's trail hoping for a big scoop. This film is obviously made on a D grade budget, but it definitely has those elements of independent films of the 1930's poverty road system that allowed it to be a bit more blatant on certain topics. That works both for and against the film as it can be tough at one moment and sappy and unbelievable at another. The print is choppy as are most early 30's films in the public domain, so sometimes the consistency seems a bit off. But it's obvious that they did with it what they could, so while a product of its time, it definitely has some artistic interest even if majorly flawed.