I like (many) pre-code movies, simply because you never know what might happen. Quite a contrast to the formulaic stuff that was produced after 1935 (approx.) and, for those who think the 'Hayes' code is dead, the assembly-line production of rom-coms since 1990 rigidly stick to the same drivel: about 20 minutes from the end, a disagreement causes the intended couple to split, but miraculously re-unite by the final curtain. Nauseating.Sins of Norah Moran is a bit melodramatic in places, esp. in the early going, but Majestic Studios (one of the so-called 'Poverty Row' film-makers, who rented space and equipment from the mainstream guys to keep costs down) weaved a melancholy tale here of a sad-sack orphan who grows up only to have the 'system' beat her down. She stands accused of murdering a former co-worker at the circus (he sexually assaulted her - a modern screenplay might have her nominated for Congress), and facing a death sentence. Her recent 'governor' boyfriend probably did it, but will Nora blow the whistle? I was struck by how the 'governor', a married man, cavorts so openly with this pretty young girl - were the 'Press' so under control during this era or was there just so much of this 'running-around' going on that the gov could hide in plain sight?In time, he sees her at a 'kept' home every Friday & Monday - it kind of blows up when his wife finds a stack of unsigned love letters. The script makes no effort to condemn Nora or the Governor for their dallying, but, of course, it's poor Nora who will face severe consequences when the villain is suitably dispatched. Dang it-where's Perry Mason when you need him?But that's pre-code: anything can happen. That's what makes it so interesting. Great camera work & use of flashbacks & voice-overs. Experimental. Unorthodox. Compelling. Kudos to TCM for reviving interest in this era. 8/10

The cellblock tango that the title character here really is her dance of death as she faces her tragic past during the last hours of her life. Told through her fading mind while under a mind-altering sedative, the film mixes some pretty impressive special effects with an outstanding screenplay that documents her life from being adopted by an elderly couple to their tragic death, her attempts to become a dancer in New York, subsequently working in the circus, the tragic rape by a rather salacious lion tamer (John Miljan), and ultimately, her affair with a powerful politician who becomes governor. The back story is told through the sympathetic D.A. who just happens to be the brother of the governor's wife, maliciously determined to destroy the woman who wrote the anonymous letters to her husband.The heroine is gloomily played by Zita Johann, but if your life had the issues of hers, you'd be gloomy too. She is as equally moody as her character from "The Mummy", only showing any sort of happiness when she's with her lover (Paul Cavanagh) who also gets the chance to explain his side of the story to the audience. Claire Du Brey is Cavanaugh's wife, although they never share a scene together, simply seen sitting in brother Alan Dinehart's office listening to his story of the heroine's life. At first, the flashbacks show Dinehart as rather hard-boiled and Du Brey is definitely initially perceived as a vindictive fish wife, both using Cavanaugh for their own gains. There certainly isn't any love lost between the governor and his wife (only insinuated through his love for Johann and Du Brey's controlling personality), so as the story unfolds, it is obvious that she will have to open up her eyes to why he strayed.This film only challenges credibility a few times, but is mesmerizing throughout. For a Majestic film, it is also preserved extremely well and never drags or crackles and pops like many poverty row films. For a story that has been done over and over again, this one ranks as one of the best of the doomed dame films and is certainly deserving of moving up the ranks to become a classic beyond the exploitation theme it seems to have been promoted as.

Here is a decent film from Majestic Pictures from 1933. Zita Johann plays a girl in desperate circumstances who gets embroiled in a murder. The structure of this film is quite unique for it's genre. The direction by Phil Goldstone and the performances are excellent. Many offbeat touches are present and there is a decent music score, rare for a little poverty row production like this. Films like this make me appreciative of the little studios that put these out. This probably played small houses or the bottom half of a double bill. It really is well done and the brief running time (just over an hour) goes by pretty quickly. The print I saw running on YouTube was decent, with good picture and sound. The clever montages and effects really add to the enjoyment of this film.

This film's not quite what you expect from 1933, the trailer boasts that it uses the famous 'narratage' technique from Preston Sturges's The Power and Glory, with Flashbacks and narration; then Flashbacks within Flashbacks. At just sixty five minutes the plot twists are great and the old fashioned dialog is really quite funny.Made on a tight budget, it manages to look like a bigger movie using library footage and cleaver back projection. Overall well worth watching just for the novelty value.