Karry Best movie of this year hands down!

Lovesusti The Worst Film Ever

Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

GManfred This was not one of Rob't. Montgomery's best features. I especially like him in dapper, cosmopolitan roles, and in the first half of the picture he was in his usual milieu. He starts as his usual urbane character, a Manhattan man-about-town but on the wrong side of the law. He is forced to 'blow town' after a shooting, retreats to the country and encounters farm lass Maureen O'Sullivan and her family.Montgomery is out of his element in a farm setting and it is here the movie sputters. He tries to fit in but seems out of sorts, loses his impeccable timing and generally looks distracted. He falls in love with O'Sullivan and any chemistry generated between the two comes from her. The able supporting cast (Edward Arnold, C.Henry Gordon, Mickey Rooney, etc.) do their best. There are some amusing scenes in the movie but overall it was not one of MGM's best efforts.5/10 - The website no longer prints my star ratings.

LeonLouisRicci Light and Breezy Depression Era Escapism. About as Inoffensive as a Movie can be. Everything is Pleasant and Pleasing to the Eye. Robert Montgomery and Maureen O' Sullivan are Pretty People in a Pretty Picture that Hardly Moves, it just sort of says OK Pretty People Do this and Do that and the Audience will Enjoy the Beauty.There is Never a Hint at Life on the Farm being Hard or Dirty ("We have more eggs than we know what to do with."). That seems like an Odd Line in a Depression where there were Food Lines and about a Quarter of the Population didn't know where their next Meal was coming from. But MGM would Argue that is the Point. This is Fantasy.So Folks Paid Their Money and were Transported to some kind of Otherland where Everyone was Sweet, Attractive, and Life was Easy. The Only Time this Fairy Tale broke its Spell and Showed Anything Resembling Real Life was at a Dinner where Everyone was Guessing what was on the Menu.

aimless-46 "Sweet" is not a word I've ever used to describe a film, mostly because the films that might merit the word are invariably too sappy to qualify. But "Hide-Out" pulls it off and truly deserves that description. Much like "Bad Bascomb" (1946) and "Angel and the Badman" (1947) this is the story of an incorrigible criminal who is reformed because of his accidental association with good people. In "Hide-out" they are not reformers and there is no deliberate effort to reform; the character change comes because the positive examples cause him to adopt their values and belief system.Robert Montgomery plays Lucky Wilson, a charming Broadway playboy who is part of a protection racket specializing in nightclubs. His boss gets a percentage of each club's profits and Lucky insures the payoff is correct by estimating each club's business from their napkin usage (a convenient procedure because they control the laundry the clubs use). The opening sequence is exceptionally well staged, with Lucky's insatiable appetite for women revealed through a montage of blonde conquests; in the opening minutes he goes from a girlfriend's maid, to the girlfriend, to another girlfriend waiting for him in a car, to a new conquest at the night club he visits. During the brief intervals between conquests he finds time to leer and flirt with every pretty girl who crosses his path. All these girls are blonds with lots of makeup and with elaborate hairstyles. Their appearances are meant to contrast with the natural appearance of Pauline Miller (Margaret O'Sullivan), the girl with whom he eventually falls in love."Hide-Out" is one of those films where the casting is perfect, as you cannot imagine anyone but Montgomery and O'Sullivan being able to pull this out without appearing completely silly. They are nicely assisted by Elizabeth Patterson (as Pauline's mother) and by a very young Mickey Rooney (as Pauline's younger brother Willie). The standing gag is Willie's frustrated attempts to get the family to call him Bill. His scenes with Montgomery are especially good and it is interesting how much natural acting talent he exhibits this early in his career. They go out on a standing gag about the reproductive abilities of the rabbits he has been raising.A big reason why the film works is the attention paid to the details,. A second viewing will reveal many things you do not even notice the first time around, like Montgomery's continuing discomfort with "nature" when he brushes a rose bush in the front of the house. There are hundreds of these little details, most of them involving the citified Montgomery's fish-out-of-water adjustments to country life.There was a 1941 remake titled "I'll Wait for You" staring Robert Sterling and Marsha Hunt. Although I love Marsha Hunt the 1934 original is easily the better film.Then again, what do I know? I'm only a child.

drednm Cute little B film from MGM in 1934 stars Robert Montgomery as a sassy hood in the nightclub rackets who flees the city after being wounded in a shout out. He lands in the wilds of Connecticut on a farm where lovely Maureen O'Sullivan is languishing. Predictable but well done.In a role that might have been meant for William Haines, Montgomery shows his comic skills as the city slicker who has never heard a cow or seen a chicken. O'Sullivan in a rare starring role is very good as the farmer's daughter. The rest of the supporting cast is also quite good here: Elizabeth Patterson as the mother, Edward Arnold as the cop, Mickey Rooney as the kid brother, Herman Bing and Henry Armetta as the flustered nightclub owners, and Muriel Evans as the floozie. Also look for Douglas Dumbrille, C. Henry Gordon, Edward Brophy, and a funny spot for Harold Huber. Whitford Kane plays the father but I never heard of him.No great shakes but pleasant throughout with a nice ending.