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The Billion Dollar Scandal

  • 1933
  • 1h 21min
CALIFICACIÓN DE IMDb
6.6/10
49
TU CALIFICACIÓN
The Billion Dollar Scandal (1933)
CrimeDrama

Agrega una trama en tu idioma"Fingers" Partos, known by fighters for his great massages, is paroled from prison and returns to straighten out his brother, "Babe." Fingers is convinced that Babe should be a classy person... Leer todo"Fingers" Partos, known by fighters for his great massages, is paroled from prison and returns to straighten out his brother, "Babe." Fingers is convinced that Babe should be a classy person and insists that Babe give up women and liquor. Through a car accident with his buddies "... Leer todo"Fingers" Partos, known by fighters for his great massages, is paroled from prison and returns to straighten out his brother, "Babe." Fingers is convinced that Babe should be a classy person and insists that Babe give up women and liquor. Through a car accident with his buddies "Kid" McGurn and "Ratsy" Harris, Fingers gets a job with billionaire John Dudley Masterson,... Leer todo

  • Dirección
    • Harry Joe Brown
  • Guionistas
    • Beatrice Banyard
    • Willard Mack
    • Gene Towne
  • Elenco
    • Robert Armstrong
    • Constance Cummings
    • Olga Baclanova
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.6/10
    49
    TU CALIFICACIÓN
    • Dirección
      • Harry Joe Brown
    • Guionistas
      • Beatrice Banyard
      • Willard Mack
      • Gene Towne
    • Elenco
      • Robert Armstrong
      • Constance Cummings
      • Olga Baclanova
    • 5Opiniones de los usuarios
    • 2Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos7

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    Elenco principal36

    Editar
    Robert Armstrong
    Robert Armstrong
    • Fingers Partos
    Constance Cummings
    Constance Cummings
    • Doris Masterson
    Olga Baclanova
    Olga Baclanova
    • Anna aka GoGo
    Frank Morgan
    Frank Morgan
    • John Dudley Masterson
    James Gleason
    James Gleason
    • Ratsy Harris
    Irving Pichel
    Irving Pichel
    • Albert Griswold
    Warren Hymer
    Warren Hymer
    • Kid McGurn
    Sidney Toler
    Sidney Toler
    • Carter B. Moore
    Berton Churchill
    Berton Churchill
    • The Warden
    Frank Albertson
    Frank Albertson
    • Babe Partos
    Walter Walker
    • Parker
    Edmund Breese
    Edmund Breese
    • Haddock
    Purnell Pratt
    Purnell Pratt
    • Committee Chairman
    William B. Davidson
    William B. Davidson
    • Lawrence
    Edward Van Sloan
    Edward Van Sloan
    • Attorney Carp
    • (as Ed Van Sloan)
    Hale Hamilton
    Hale Hamilton
    • Jackson
    Ralf Harolde
    Ralf Harolde
    • Anderson
    • (escenas eliminadas)
    Dorothy Peterson
    Dorothy Peterson
    • Mrs. Jackson
    • (escenas eliminadas)
    • Dirección
      • Harry Joe Brown
    • Guionistas
      • Beatrice Banyard
      • Willard Mack
      • Gene Towne
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios5

    6.649
    1
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    Opiniones destacadas

    tedg

    Marks on the Box

    Sometimes a movie has no intrinsic merit, but after a while is valuable watching because of how it reflects the times. I like it better when the reflection is some element from film history.

    This is a piece of the era, a time before the code, deep in the depression. A time when it was clear (as it is now) that a whole nation suffers so a few can get rich. A time when it was noble to think of a little, exceedingly simple Joe standing up bigtime moneymen.

    It was a time when the US was pretty close to flipping into communism of some stripe.

    The story involves a guy in the fight business. An older, retired fighter who is dumber now than when born. He's a trainer, which in those days also meant masseur. He's a con. Reliable James Gleason plays his con sidekick, East Side accent jabbering.

    There's a brother and a rich man's daughter. Big oil swindles. Intimidation and killing. All ordinary and uninteresting.

    What IS interesting as all getout is that this was made at all, the palooka who brings down the big bosses — in front of the people's senate no less.

    Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
    9joe-pearce-1

    Armstrong at His Best in a Forgotten Little Gem

    Over the years, Robert Armstrong attained a kind of semi-iconic status due to his starring role in a great film, KING KONG (pretty much reprising that role in MIGHTY JOE YOUNG), but he is rarely thought of as a starring actor, as against more of a supporting player (especially since his second-most-seen role in a famous film is as the ill-fated brother of the heroine in THE MOST DANGEROUS GAME). But in his silent-to-talking crossover period, he starred in any number of films, mostly comedies, and mostly as a rough-and-ready (and not too bright) leading or semi-leading man. It is the kind of role he plays here, but I must say that of the over 100 films I have with him, this is the best, and certainly the biggest, role I have ever seen him in. The whole film revolves around him, and this in a good-looking B film with a plethora of other terrific actors. It's the kind of role an actor like Victor McLaglen or even Clark Gable (back then) or Anthony Quinn or Ernest Borgnine (in more modern times) would have excelled in, and probably in an A production to boot. Anyway, Armstrong plays a recently-paroled minor criminal (we are never told what he did to get into jail to begin with) who, along with two lovable cronies (James Gleason and Warren Hymer), attempts to go back into the boxing business, fails, and ends up as a physical trainer for a rich industrialist (Frank Morgan) and some of his wealthy friends. Overhearing much of these people's plans to more or less manipulate the market, he invests his own dough and becomes reasonably well off, making it possible for him to advance his younger brother's career as a broker. Things go awry when peripheral events induce Morgan to exact a penalty on his trainer, resulting in his return to near destitution and providing the impetus for the rest of the story as Armstrong reveals all at the behest of a newspaper publisher and then ends up testifying before a U.S. Senate committee regarding all of it. (None of this is in any way a 'spoiler' as everything is pretty much telegraphed to the audience well ahead of the reality setting in.) By that time, there have been other story lines introduced, along with one particularly memorable character (portrayed by a pre-Charlie Chan Sidney Toler) and even a murder. None of that is important to this review. What is important is that we are given the chance to see several famous character actors playing against type, and they do so superbly. Foremost is lovable Frank Morgan, who is anything but lovable in his lead-industrialist role, and very convincing. And Irving Pichel, of the voice-of-doom reputation, comes over well as the solidly honest, if somewhat overly ambitious publisher. Then there is Berton Churchill, who almost always played authority figures of a slightly 'bent' persuasion, here shown as a very sympathetic prison warden who bends over backwards to get Armstrong his parole. Wasted here is Moscow Art Theater veteran Olga Baclanova as Armstrong's floozy girlfriend, but she's fun when we can understand her, even though we keep expecting her to run off with a dwarf (that's for another review). And Constance Cummings is fine as Morgan's daughter, but gives no indications here that she will one day receive a CBE from the Queen. Still, the absolute gem of the casting is Sidney Toler, whose impending arrival on the scene is discussed in tones not inappropriate to the introduction of Josef Mengele into the action, and when he arrives he more than fulfills this promise. Toler is a 'fixer', maybe a hit-man himself, but definitely one who can arrange such things, and his three-or-four-minute scene with the industrialists is in many ways the highlight of the film. This is the 59-year-old Toler still showing vestiges of the younger leading stage actor he once was, very handsome in a mature sort of way, and by far the single classiest actor in the film; a far cry from Charlie Chan, indeed. Armstrong starts out a bit hammy, perhaps (it really IS that kind of role), but eases into the ensuing drama beautifully, and this is the kind of performance that, in an A production with a better screenplay (it has the usual B-film fatality of inadequate exposition at almost all times, so that we more than once find characters conversant with each other, if not downright in love with each other, whom we have no reason to expect have even as yet met!) would surely be better remembered 80 years later. A small price to pay, though, for the film is very 'alive', with a kind of forward momentum missing in many A productions. Also, although Armstrong and Gleason partnered in many early films (Armstrong had acted with Gleason's theatrical company), the addition of Warren Hymer to their ranks made for a perfect trio of somewhat dicey figures who might have done well in further escapades. But this one is enough. A delightful semi-romp, and a great example of why actors should often be cast against type (think Gregory Peck as Captain Ahab!).
    5view_and_review

    Fly in the Ointment

    "The Billion Dollar Scandal" (TBDS) was a David v. Goliath story in which case the David was an ex-con and the Goliath was a group of wealthy oil magnates. It's hard to find a greater disparity in power and influence.

    A car accident led an ex-con named Frank 'Fingers' Partos (Robert Armstrong) to become the massage and fitness man for a rich businessman named John Dudley Masterson (Frank Morgan). Fingers wasn't too bright, but he was smart enough to know to invest his money in the stocks he overheard John and his rich friends talking about. He had a good thing going until his brother, Babe (Frank Albertson), started dating Masterson's daughter, Doris (Constance Cummings). Masterson was dead set against it and he would financially ruin Fingers if it meant prying his daughter away from Babe.

    The romance between Doris and Babe set off the dramatic events that followed, but it wasn't the primary focus of the plot. It was one of those rich girl/poor boy romances where Hollywood wants us to believe that rich girls truly fall in love with peppy paupers. Call me a cynic, but I don't think hardly any such romances are real love. I think they're nothing more than bored young women who are attracted to something different and confuse their excitement with love (that includes Rose from "The Titanic"). The other portion of them do it because they have daddy issues and they want to spite their overbearing fathers. What's left are the paltry few that are truly in love while Hollywood writers make it seem as though they are the rule, not the exception.

    TBDS was not about that romance and it shouldn't have distracted me so, but I can't help it. I see the cliche rich girl/poor boy romance and it's like nails on a chalkboard. The main issue was a country being bilked by an elite cabal, and the lowly whistleblower who could take them down. I liked that aspect of the film, however it was a little too trite. As brilliant as Masterson was, he was equally clumsy, inattentive, and tactless. If all masterminds were as bungling as him when it comes to perpetrating billion dollar schemes, we could easily lock them all up.

    TBDS did have a good cast in spite of the basic plot. Along with Armstrong, Cummings, and Frank Morgan, there was James Gleason, Irving Pichel, Warren Hymer, Sidney Toler, Berton Churchill, Purnell Pratt, and Ralf Harolde--all veterans.

    Free on Internet Archive.

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    • Trivia
      A nitrate print of this film survives in the UCLA Film and Television Archives.

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    Detalles

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    • Fecha de lanzamiento
      • 7 de enero de 1933 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • 十億ドル事件
    • Locaciones de filmación
      • Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Ángeles, California, Estados Unidos
    • Productora
      • Paramount Pictures
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 21 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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