The Woman Racket

... but you can't take the speakeasy of the girl. At least not easily.

The film opens with a raid on a speakeasy, and the cops are posted at all of the exits just to make sure that the middle class customers and the people just trying to eke out a living are embarrassed, arrested, and financially damaged over doing something that everybody did during prohibition - drink. Tom - one of the cops - sees a pair of comely legs hiding in the bushes. He pulls her out and sees the rest of her is just as comely (Blanche Sweet as Julia). So he helps her escape (the fruits of "pretty privilege"), dates her, and marries her. But before long Julia is tired of living on Tom's paltry salary and craves the excitement of the nightlife again. One night when Tom is working, she dresses up, goes back to the "Blue Moon" speakeasy where she used to work, agrees to get her old job back that pays more than Tom's salary, and returns home just to be caught by Tom as he is coming in. They argue about what she has done, and during the day while Tom is gone, Julia leaves him, and goes back to the speakeasy to work and live.

But the guy she thought was so chivalrous and charming -John Miljan as Chris, coowner of the speakeasy - turns out to be just a cheap gangster and womanizing cad. Chris should know better than to steal a cop's wife and then bite off more than he can chew as far as criminal activity. Julia should know better than to mouth off to a cheap gangster about just what all she can pin on him. Complications ensue.

The only really confusing issue about this whole thing is that initially the cops raided this establishment. Now Tom comes and goes and seems to know the place and the owners, yet does nothing and arrests nobody. This is not explained at all. This was obviously a B effort by MGM since it has none of their big stars in it, plus the thing is completely mistitled. There is nothing of females or forced errors in this film, and the title insinuates it might be about prostitution. Instead it really is not salacious at all.

I enjoyed it because it gave the talented and unfairly forgotten Miljan a bigger role than usual, I just love looking at the art deco styles of the time, and Sally Starr and Robert Agnew have some adorable musical numbers together. Starr was going to be MGM's answer to Clara Bow, but that never really worked out.

Recommended for fans of the precode era.