“Soon after the new chief of police takes office, he promises to avenge his son’s murder by running the hoodlums out of town, and Mizoski fires him from the force. After Colimo is killed, Scorpio sets his sights on the big city. In response to the arrival of Scorpio’s gang, a special police force is created, which calls itself the “Secret Six,” comprised of six masked men representing the “greatest force of law and order in the U.S.” The force commissions Carl to gather evidence against Scorpio and the mob, but he is instructed to wait until all the gangsters are in town before making any arrests. When Anne discovers a plot to kill Hank, she runs onto a subway car to warn him, but is too late. As soon as she tells Hank that she loves him, the lights on the train go out and a shot kills him. Later, Scorpio is jailed, and Metz, one of the distillery lackeys thought to be a deaf-mute, cracks under police pressure and gives the needed testimony to convict Scorpio. At Scorpio’s trial, Anne testifies that she heard Scorpio threaten to kill Hank. Scorpio, however, bribes the jury and buys his not guilty verdict, which the judge angrily calls a miscarriage of justice. Following Scorpio’s trial, police close in on him, and a shootout at Frank’s Steak House ensues. Scorpio kills Newton for his money and then seeks refuge at Peaches’, but she double-crosses him and turns him over to the police. Scorpio and his men are soon imprisoned and condemned to death row.” (This summary is brought to you courtesy of TCM.)

This is sort of an average storyline for a gangster flick — except it’s actually busier and more dense than you’d expect. The plot trucks along pretty quickly, and though some moments are naturally more engrossing than others, it has a nice, even trajectory. The bad guy protagonist wins for the majority of the film, and that’s always delicious to watch. Being an MGM film, there’s more polish than we’d find in the gangster films of other studios, but I wasn’t too terribly distracted. However, while other films of the genre — like The Public Enemy (1931), which I covered back in October — has a distinct style, this picture has less distinguished direction. Now, you all know that I put the story above everything else, but given the narrative here, I would have liked more visually satisfying bits to complement the action.

Meanwhile, the entire cast is great. Beery is very strong, and everyone has a sort seediness about them — perfect for a gangster flick. Marjorie Rambeau makes for a memorable moll, and Jean Harlow, playing another tart, gives a surprisingly nuanced performance for this point in her career. Also, and surprisingly, Gable, is NOT playing the bad guy in a gangster picture. He’s one of the good ones — a reporter smitten with Miss Harlow. Though Crawford holds the record of most pictures with Clark, Harlow comes in at a close second, and while Crawford and Gable seem evenly matched in a sexualized and capitalistic sort of way (working their way from the bottom to the top), Gable and Harlow have an ease that, in addition to being realistic, is snappy, warm, and refreshingly uncomplicated. In this, the first of six films Gable would make with Harlow, their unique chemistry begins its spark of development. And that’s a treat to watch.

This is a well-plotted, if busy, gangster film, and I recommend it to all film fans who like the genre. Beery gives a good performance, and though the King’s role is relatively small, it’s worth it to see him in his first picture with Harlow. So, this film isn’t highly recommended, but it is recommended. DVR it, and watch it on a rainy day!