Joan Blondell (Blondie Johnson), Chester Morris (Danny), Allen Jenkins (Louis), Earle Foxe (Scannel), Claire Dodd (Gladys), Mae Busch (Mae), Joseph Cawthorn (Lord), Olin Howland (Eddie), Sterling Holloway (Red), Toshia Mori (Lulu), Arthur Vinton (Max Wagner), Donald Kirke (Joe), Tom Kennedy (Hype), Lloyd Ingraham (judge), Maurice Black (Tony), Sam Godfrey (Freddy), Betty Jane Graham (child), Eddie Kane (jewelry assistant), Charles Lane (cashier), Walter Long (Artie), Rolfe Sedan (tailor), Ben Hall (newsboy), Tom Wilson (Swede), Sam McDaniel (porter).Director: RAY ENRIGHT. Uncredited direction: Lucien Hubbard. Original screenplay: Earl Baldwin. Photography: Tony Gaudio. Film editor: George Marks. Art director: Esdras Hartley. Gowns designed by Orry-Kelly. Music director: Leo F. Forbstein. Dialogue director: Stanley Logan. Associate producer: Lucien Hubbard.Copyright 13 February 1933 by First National Pictures, Inc. Released through Warner Brothers Pictures, Inc. New York opening at the Strand: 26 February 1933. 67 minutes. SYNOPSIS: A gangster tries to prevent a female go-getter from muscling in on his rackets.COMMENT: In this typical Warner Brothers exposé of the depression- ridden early 1930s, the script blames the lack of compassion in society at large and the unwillingness of both church and government to do anything about remedying social conditions, for the rise of organized crime. The brief portrait of the mealy-mouthed priest is especially telling. No other Hollywood studio would dare paint a cleric in such an unflattering light. Having set the scene, the rest of the film is fast-paced action, interspersed with a bit of romance, right up to the illogical and somewhat startling cop-out conclusion (which seems to have been added as an afterthought). All the players impress with their realism, but I was particularly struck by Joan Blondell, Allen Jenkins (in a serious role), Joseph Cawthorn (using his real voice and not the "funny" accent), Claire Dodd (gorgeously gowned by Orry-Kelly), Arthur Vinton (the menacing overlord), and Mae Busch. Aside from the unexpectedly light conclusion, director Ray Enright doesn't put a foot wrong. Definitely one of his better films!

In this before the Code drama Joan Blondell steps into Barbara Stanwyck territory playing a woman who we see rise to the top of the rackets and is pretty ruthless about it. As the film shows us Blondell had it pretty rough as a kid and now she's going to acquire the only thing that matters in this life, money.Along the way she teams up with another racketeer played by Chester Morris on loan from MGM who's also not a squeamish guy, but wants to settle down with Blondell as long as he leads when they dance. Blondell is not about to let anyone else lead in her life.I'm surprised this film is not better known if for no other reason than the acclaim that Blondell has received for her performances in those Warner Brothers gangster films. Usually she's just a leading lady for James Cagney etc. but her she's the lead, it's her film and she makes a fine job of it.If TCM ever broadcasts this, don't miss it. A must for Joan Blondell fans.

Joan Blondell is poverty stricken, but determined to survive, in "Blondie Johnson," a 1933 Warner Brothers film also starring Chester Morris, Allen Jenkins, and Sterling Holloway.Blondie (Blondell) and her sick mother are not considered hardship cases. They live in the back of a store, Blondie can't find a job, and her mother is in need of care. After being denied funds, she returns home to find that her mother has died in her absence. She decides she's waited long enough for something good to happen. She's going to make things happen, but she's going to use her brains, not her body, to do it The next time we see Blondie, she's all decked out after working in a dance hall. She takes a cab ride and she and the driver (Holloway) work a scam that nets them a tidy sum at the end of the night. Unfortunately one of the people they worked it on is Danny Jones (Morris), a racketeer, and he catches her in a Chinese restaurant, which is not exactly the hospital she claimed she was headed to for work. They team up, with Blondie having ambitions toward being a crime boss.Good movie with the always delightful Blondell and likable Chester Morris. The end of the film is jarring; it's abrupt and different in tone from the rest of the movie. Still, it's a quick-paced, well acted film.

Joan Blondell plays a down-on-her-luck lady who turns to crime. Specifically being a con artist. She hooks up with gangster Chester Morris and before too long she's leading the gang herself. Joan's really the whole show here. She's a big-eyed curvy beauty but she's also smart and tough as nails. She's impossible to dislike and gives an effortless performance. It's a good role for the period, playing a woman who uses her brains instead of her body to get ahead. Chester Morris is good but his part here isn't exactly Boston Blackie. His chemistry with Joan is lacking, as well. Allen Jenkins is fun, which should come as no surprise. Arthur Vinton, who plays a big shot gangster here, sounds just like Ralph Bellamy. I thought maybe my eyes were playing tricks on me. It's a good little gangster picture. Fans of the terribly underrated Joan Blondell will like it a lot.