The pretty Margaret Lindsay is the estranged wife of convicted killer Cesar Romero who is bent on keeping an eye on his spouse by making sure that she goes to prison along with him. But thanks to federal agent Pat O'Brien, she avoids a prison sentence and when Romero escapes from prison, O'Brien sets up a phony wedding between himself and Lindsay to entrap Romero. Lindsay ends up being kidnapped by the nasty Romero and hides out in a country dive bar where Romero's gang holds up, leading to a shoot-out when O'Brien locates her. There are some great lines and a few decent character performances, but this seems rushed together too quickly to be fully believable. Lindsay is far too much of a lady to be truly believable as a gangster's moll, although Romero sneers nicely and makes quite a few determined threats to steal the film as the main villain. With that Warner Brothers directness that made them the main studio in the creation of the gangster film, there are many elements that will keep you interested, but when you compare it to "Little Caesar", the original "Public Enemy" and "I Was a Fugitive From a Chain Gang" (and more recently "G-Men"), it seems too implausible in its story telling. Robert Armstrong and Dick Foran add some macho support to the film which, under the direction of Nick Grinde, ends up being only somewhat satisfactory as a bottom of the bill feature that wastes its talented female lead in a role that is truly beneath her.

Cesar Romero is a con man in prison in Public Enemy's Wife, from 1936. He plays Gene Maroc, whose wife Judith (Margaret Lindsay) served time because she refused to tell the police anything.Judith is released first and wants nothing to do with Maroc. Maroc threatens to kill her once he's out.Judith splits and dyes her hair from blond to brunette. The FBI is still interested in talking to her and getting some info. The agents, Lee Laird and Robert Armstrong (Pat O'Brien, Gene Ferguson) attempt to find her. When they finally catch up with her, she's engaged to be married. And Maroc is out and after her. The agents figure if she goes through with the wedding, it will bring Maroc to them.Part drama and part comedy, this is an entertaining film, with the underrated Cesar Romero as a villain. Romero was a dancer, an actor, he was suave, he was dashing, and he could play a crook. In short he could do anything. He is also very impressive in "Captain from Castile," another departure for him.Pat O'Brien does a good job in the lead, and Margaret Lindsay is appropriately hard-boiled at first, later softening.Enjoyable.

I noticed a long time ago that almost all of Pat O'Brien's films were pretty silly and he was an odd choice as a "macho" leading man. Because of this it's really difficult to find any of his films that can be labeled "great", though at the same time these hokey movies are a lot of fun to watch provided you aren't expecting Shakespeare! The idea of this dumpy, somewhat balding man with a propensity to yell his lines being an action hero or great lover is pretty silly but in Warner Brothers fashion, the films are entertaining.THE PUBLIC ENEMY'S WIFE is exactly the sort of film I think of when I think of O'Brien. Naturally he's the hero and naturally he's destined to get the girl in the end--even if it seems next to impossible. But despite this, the film is awfully good to watch--with a wonderful performance by Cesar Romero as a mobster. And the plot is different enough to make it worth your time. Great? Of course not--but for fans of Hollywood's Golden Age, it's still a dandy flick.FYI--There were a few errors in the film. No matter what the Justice of the Peace said, the marriage between Lindsay and O'Brien was NOT legal and would not have been recognized since O'Brien married her while assuming another's identity. Also, the fish O'Brien and Armstrong carried with them were not native Florida fish--and there are no mountains in Southern Florida!

Released the same year as MGM's LIBELED LADY, this light Warner's crime drama shares a lot of plot points, tries for a comic take on the subject, but fails, in no small part because Pat O'Brien does not display the diffident feyness that William Powell brought to his role, in part because Margaret Lindsay lacks a light touch but mostly, I fear, because the screenwriters and director Nick Grinde can't quite bring off the material -- certainly Pat O'Brien was capable of handling comedy material and there is a lot of strong comic supporting actors. It's odd to see Cesar Romero, who could have played his role as a gangster with great comic timing, play it straight. The two best comedians are Al Bridge and Harry Hayden, in two almost invisible roles -- both later members of Preston Sturges' stock company.But screwball was still finding its way at this point, and Nick Grinde was not the director to help it along. Too bad.