Michael_Elliott
Woman Racket, The (1930)** (out of 4) A cop (Tom Moore) saves a show girl (Blanche Sweet) from a pinch and soon the two are married. Things start off well but soon the wife grows bored of her housewife role and soon she's back in the nightclubs where she gets caught up with a dangerous gangster (John Miljan). THE WOMAN RACKET is your typical crime picture from MGM and sadly it's really not all that good. I think the main reason for people to tune into this thing is for Sweet who most film buffs will remember from her remarkable work with D.W. Griffith. This was one of her few sound films so that will be the main draw and there's no doubt that she's the best thing in the movie. As someone who has seen over a hundred Griffith films, it's always fun seeing his original troupe in other people's work. With Sweet she was always playing that "down home girl" and she was usually dressed in rags or made to look less attractive. It was really pretty strange seeing her in this role playing a sexy singer who uses her looks to gain a thing or two. I was really caught off guard at how well Sweet looked in this role but she also comes across extremely charming. There wasn't a single second where you don't believe her in the part and she perfectly sells that sexuality and charm. Moore, on the other hand, doesn't come off as well. I think he's a tad bit too laid back at times and it seems like he was struggling with some of the dialogue at times. He's certainly far from horrible but he doesn't add too much. Miljan is pretty good in the role of the gangster as he has no trouble coming off like a snake and he makes it easy to hate this character. Like many early talkies, this one here suffers from talking way too much as there are way too many dialogue scenes that just keep on and on. There are a couple musicals numbers, which aren't too bad and especially those performed by Sweet. Buffs will notice Sammy Lee served as musical director and he would eventually become a director at the studio doing various musical shorts. THE WOMAN RACKET just doesn't have enough life, energy or style to make it work so in the end it's mainly for those interested in Sweet.
wes-connors
During prohibition, a speakeasy is raided. Good-natured policeman Tom Moore (as Thomas "Tom" Hayes) discovers nightclub singer Blanche Sweet (as Julia Barnes) trying to avoid arrest. Stricken by her beauty, Mr. Moore allows her escape, and the two begin dating. Although they are happily married, Ms. Sweet becomes bored being a housewife and getting along on Moore's meager salary. His gift of a new dress tempts Sweet into sneaking out for the evening. She has fun seeing old friends and sings "He's Good Enough for Me" - signaling her heart remains with Moore... however...Against Moore's wishes, Sweet accepts a job entertaining at "The Blue Moon" and succumbs to the charms of smarmy boss John Miljan (as Chris Miller). Ironically, Sweet leaves Moore just before he receives a promotion to detective sergeant. Months later, Sweet has been lured into criminal activities with Mr. Miljan, who is unsurprisingly revealed as a gangster lord. When a mugging turns to murder, Moore arrives to investigate...The "talkie" technology is primitive here, but Sweet does well in her first feature length sound film. While not well remembered today, Blanche Sweet was one of the silent era's most renowned actresses - she was often considered on par with Mary Pickford and Lillian Gish. Like many, Sweet was considered old-fashioned when the medium changed, although her 1930s films reveal her in arguably better stead than her peers. Moore was the brother of silent stars Owen and Matt Moore (Pickford dynasty in-laws). "The Woman Racket" apparently did not advance its co-stars' careers, but it is an enjoyable time capsule.****** The Woman Racket (1/24/30) Robert Ober, Albert Kelley ~ Blanche Sweet, Tom Moore, John Miljan, Tenen Holtz
lugonian
THE WOMAN RACKET (MGM, 1930), directed by Robert Ober and Albert Kelly, is a vintage melodrama that marked the feature talking debut of a silent screen actress named Blanche Sweet. Virtually forgotten today as is this movie, with title that gives an indication of being a crime drama about a female gang leader, the legend of Blanche Sweet rests upon the films she made starting as early as 1909, while the legend of Blanche Sweet ended with three 1930 talkies, including "The Silver Horde" (RKO), with "Show Girl in Hollywood" (Warners) starring Alice White, being the most acceptable and enjoyable of the trio.The story opens one evening as The Blue Moon, a speakeasy, is being raided by the police. Tom Hayes (Tom Moore), a cop who goes by the book, meets up with Julia Barnes (Blanche Sweet), an employee attempting to make her escape. Instead of arresting her, he not only lets her go, but takes her out for evenings of fun, including Coney Island. Within a short time, the two marry. A year later, Julia finds that living in an apartment on Eighth Avenue and being a policeman's wife isn't all that's cracked up to be. She spends her evenings in total boredom while Tom is out all night doing his job by walking the beat. Against her husband's wishes, Julia, who had acquired a new dress gifted to her by Tom, decides to go out and visit the old gang at the Blue Moon. While there, for old time's sake, she gets to sing a song sitting on top of a piano (in the Helen Morgan tradition), thus, attracting the attention of Chris Miller (John Miljan), Ben's (Tenan Holtz) new partner and manager, and offers her a job. When Tom learns of this, Julia at first agrees to abide by his wishes, but finds she can't. She leaves Tom a farewell note, returns to the Blue Moon where she not only works and enjoys the night life, but becomes Miller's mistress, a decision she would live to regret.Songs featured in this production include: "He's Good Enough for Me" (sung by Blanche Sweet), and the catchy tune, "Call Me to Arms" (sung and performed by Robert Agnew and Sally Starr). Choreography is credited to Sammy Lee while the songwriters go without credit. Agnew (who sings like "Broadway Melody" star Charles King and occasionally resembles MGM comedian actor William Haines) and Starr appear as the secondary couple singing and dancing as well as arguing amongst themselves regarding her future career.Top-billing goes to a now obscure actor named Tom Moore, who appears to have spent much of his movie career playing Irish cops. Blanche Sweet's voice registers well in this early talkie, giving her an opportunity to sing a song, but of all the actors in the supporting cast, including Lew Kelly as Tish; Nita Martan as Rita and Richard Travers as Wardell; John Miljan comes off best. A resident MGM performer who specialized in playing villains, is really mean in this one, so mean that he arranges for the murder of Wardell (Richard Travers) and placing the blame on his mistress Julia, with an attempt to go away to Chicago with his star dancer (Sally Starr). On top of that, when Julia attempts to expose Miller, he knocks her out and places her in a trunk to dispose of her, and stops at nothing to get what he wants. Quite common in movies, one would wonder why anyone would tell what he or she attempts on doing to expose a villain's evil doings to the police, knowing full well that the villain in question is dangerous enough to do something drastic. As for Sweet, her character is off the screen for quite a long stretch (being locked up in a trunk), leaving reliable cop now promoted to detective Tom Moore to do some investigating.In an after movie interview following a rare presentation of the Blanche Sweet silent version to "Anna Christie" (1923) which played on public television's 1978 weekly series, "Lost and Found" (WNET, Channel 13, New York City), as hosted by Richard Schickel, Blanche Sweet herself discussed her invitation to MGM where she was to star in the talkie remake of "Anna Christie", a role that eventually went to Greta Garbo. One wonders how far Sweet's career might have gone had she acted in "Anna Christie" instead of Garbo, but since the Anna Christie character is of Swedish decent, Sweet would have been all wrong in the role that rightfully belonged to Garbo, a natural born Swede. Since THE WOMAN RACKET is far from a prestigious movie project, in spite of it being distributed by a prestigious movie studio, Sweet's career in talkies was short-lived in spite of some promising results in the new medium.The plot of THE WOMAN RACKET might have played well had it been produced at the Warner Brothers studio that specialized in dramas such as this, with the likes of its resident actors as Pat O'Brien, Ann Dvorak and Ricardo Cortez in the Moore, Sweet and Miljan parts, but such as it is, THE WOMAN RACKET is a rarely seen 70 minute drama as well as Blanche Sweet movie that was last seen during the after midnight hours on Turner Classic Movies. (**)
John Seal
Apparently shot in both silent and sound versions, The Woman Racket now exists only in the latter format. It's interesting to note that stars Tom Moore and Blanche Sweet were big names in the silent era who failed to make the transition to talkies. On the evidence seen here, that's a little surprising, especially in Sweet's case--her winsome good looks and natural smile are complemented by a pleasant speaking voice. The craggy faced Moore is a little more problematic, but is a warm presence as a police officer who sets a good time girl on the straight and narrow and then marries her. The inertia of home life soon becomes too much for his bride (Sweet, naturally), who is lured back into the urban netherworld of gambling houses by sleazy Chris (John Miljan, superb as always). This is a well made and still watchable pre-Code drama that also includes some throwaway musical numbers and some suitably risqué costumes.
