1

2

3

4

5

6

7

8

9

10

Jimmy (Regis Toomey) and Betty (Gloria Shea) have a carnival act together. When the carnival closes, the pair marry. But work is hard to come by....after all, it IS during the Great Depression. To make ends meet, Betty does a bit of singing and soon she's discovered by a lecherous cad (Walter Byron). But Betty is loyal to her hubby...while he seems to have a wounded ego since she is the main breadwinner in the family. Not surprisingly, the marriage is soon on the rocks.

This film is a real product of its times. Nowadays, most folks would think 'fine...she can work and he can support her by being at her side'. But in the 1930s, a lot of men had bruised egos....as many women became the main or sole breadwinners in families.

So is it any good? Well, in one way it is terrible. Miss Shea, to put it very bluntly, cannot sing well and I cannot imagine ANYONE paying her to sing (to STOP singing...perhaps). But we are to believe she's now the toast of Broadway! Additionally, the story and acting just seem a bit flat to me....and more energy sure would have helped. Too many times, the actors seem more like they're reading their lines instead of being real people. The best example is when the couple break up...there just aren't any sparks or energy.

By the way...if you see this film, note that the message is that women should give up their successful careers, as it might make their man feel less manly!

Regis Toomey does a High Dive act at a third-rate traveling show. His wife, Gloria Shea, holds the towel and shouts "Come on, big boy." It's a successful act, and when the show closes on the road, Toomey and Miss Shea head to New York to crack the big time. But jobs are scarce, so Miss Shea takes a job in the chorus, while Toomey stews. She gets a specialty number. She's seen by Walter Byron, who's looking for the next new thing -- for himself -- and gets producer Edwin Maxwell to hire her for the show Byron has backed, and into which he places his prospective conquests. Miss Shea is a big success... and Toomey resents it.

It's a good idea and script, and if director Sam Newfield is unable to draw anything outstanding out of the leads..... well, no one else did in lead roles. Toomey offers his dogged aspect, and Miss Shea seems far too wan to sing a specialty in a floor show, let alone star on Broadway. Maxwell gives a fine performance, Nat Carr is funny as Toomey's agent, and the plot is pretty good, in an old-fashioned manner during the pre-code era.