And when you go, you shoot the lights, you blow us all to bits

[sovay]

I leave this image as a sort of placeholder for The Beast of the City (1932), which I will have to write about some night when I don't have to get up early for a molasses flood commemoration. I was just watching it for Jean Harlow, but then there was the ending. I knew I liked Wallace Ford from Freaks (1932) and various older appearances as a character actor, but he appears to have joined the ranks of nicely weird-looking people I could watch all night. I haven't seen a body count like that since Tarantino.

Comments

[rydra_wong]

unlike some production stills I have run into.

... I would be seriously interested in that OT3, and am also aware that it is nowhere to be found in The Eagle and the Hawk. Which is a very good film in its own way! Just not the way that still implies.

[sovay]

... I would be seriously interested in that OT3, and am also aware that it is nowhere to be found in The Eagle and the Hawk.

I keep wondering who I could ask to write it for me. (I don't want to write it myself; I am having enough trouble not dying in two separate research K-holes right now.)

Which is a very good film in its own way! Just not the way that still implies.

Agreed. I was not disappointed in it—I keep meaning to write about it, I just keep encountering other, more resonant or weirder things first—but there was not enough, i.e. any of shell-shocked Fredric March being desperately protective of Carole Lombard and Cary Grant.