Mjeteconer Just perfect...

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

JohnHowardReid James Murray, star of King Vidor's "The Crowd" (1928), had a checkered sound career. His one powerful scene as the train brakeman in "Baby Face" (1933) was censored before the movie hit theaters (although, pleasing to report, it has been restored in the Warner DVD release). In the Grapevine Video 7/10 DVD, "High Gear" (1933) release, we discover that James Murray actually has a pleasingly strong voice, although joined to a somewhat bland personality. Admittedly, the script in which a juvenile Jackie Searl is allowed to run riot, does not favor Murray, while those masters of comic relief, Eddie Lambert and Ann Brody, are also allowed to steal scenes right, left and center. Leigh Jason's uninspired direction doesn't help Murray either. And even worse, the screenplay's noirish aspects are toned down almost to the point of non-existence. Also poorly treated is heroine Joan Marsh who ends up making no impression at all,

kidboots James Murray was once described by King Vidor as the most naturally gifted actor he had ever seen. From working as an extra to the lead role in MGM's "The Crowd" he gave an extraordinarily sensitive performance as John Sims who is eventually beaten by life. Historians have said he had the same dynamism as Spencer Tracy. That is probably why, even though Murray was battling alcoholism during the making of "Rose Marie" (1927), in 1933 he was still given the chance to make good. "High Gear" was his last chance - from his next picture on ("Central Airport") there were only bit parts or roles that any actor could play.The maudlin story - dare devil racer (James Murray) accidentally causes the death of his mechanic and is left to look after his young son, is given a fresh look due to some innovative direction (well, innovative for Goldsmith Hollywood Pictures). Mark "High Gear" Sheridan (Murray) is in the race of his life but he hasn't got his mind on his job - it is off with his latest flame, hot shot reporter Anne (Joan Marsh), so he has a smash up and his mechanic is killed. He instantly takes charge of Jimmie (Jackie Searl, in a very winning performance, proving that child star "brats" could also play for sympathy), sending him off to military school which had been his father's dream. When Mark finally gets back in a racing car he realises he has lost his nerve and vows never to race again.To keep Jimmie in the prestigious school he gets a job as a taxi driver and as luck would have it one of his fares wants to go to the military academy. In a novel twist he also visits Jimmie on the sly but surprisingly the secret does not get out and Jimmie gets to keep his dreams. Due to a disgruntled suitor of Anne's, Sheridan's come down gets into the papers, Jimmie runs away and stumbles into the middle of a taxi war but when Jimmie is hit by a flying object only Sheridan's quick but skillful driving gets him to the hospital in time.Joan Marsh had been a Wampas Baby Star in 1931 but to me she always looked like a second string Barbara Pepper. Marion Sayers, Murray's real life wife, also had a bit as a telephone operator. Sayers, who had once been "Miss Florida" in a beauty contest, divorced him soon after this movie claiming he drank to excess (surely a big understatement)!!!

MartinHafer This film is in the public domain and time has not been good to the print. As a result of it being an orphan, the print is choppy--with parts of the dialog clipped out here and there. Additionally, during the first race, a scene occurs from early in the film--completely out of place and out of sequence. So, as the leading man is racing about in his hot rod, the scene switched from the race to the same guy with the female reporter--trying to make time with her! Then, the scene switches and he's back behind the wheel of his sports car in the middle of the same race! Yikes! There's plenty more like this, unfortunately.James Murray plays a racing car driver. His best friend is his co-driver (standard back in the old days) and when this friend is killed in a race, Murray is so traumatized that he cannot bring himself to go back to racing. He also has inherited custody of his friend's son and has determined to keep him in a nice military academy--but paying for it is tough when he's not able to race. Murray makes ends meet as a taxi driver but doesn't tell the kid or a nice reporter (Joan Marsh) who is infatuated with him. In fact, he's so ashamed that he avoids her like the plague.Later, the lady accidentally discovers his new identity as a cabbie but decides NOT to divulge this in her column. But, her friend's promise NOT to mention this is immediately broken--as he reports on Murray's fall in his next radio show--calling Murray "yellow" and telling everyone that he's now just a cab driver. This makes life tough for the kid in military school, as he's idolized Murray and told everyone all about his 'Uncle Mark' and his exploits. Considering that this is a rather predictable B-movie, you just know by the end of the film that Murray will be back behind the wheel and his winning ways. However, I must admit that HOW this occurred took me by surprise--even if it was incredibly contrived and odd.The film is a very standard low-budget B-movie. There are a few things of interest, though not enough to make this one to see. First, the film did a nice job of portraying PTSD (though such a term wasn't coined for several more decades). Second, I liked that Marsh was a very ordinary looking woman--a bit chunky and less glamorous than you might expect. I like this, as too often in film everyone is sexy and beautiful--and totally unlike real life. Third, I liked the neighbors. While walking ethnic stereotypes, they were sweet and added nice color to the otherwise drab film. Overall, because of the standard plot and choppy print, there isn't any real compelling reason to see this one.

Spuzzlightyear Uneven drama about a racecar driver who's life spins out of control when his second in his racecar (when they had them in those dem days) dies, after a crash. You see, his partner's son was all hyped about going to military school, and after his partner dies, he adopts the kid ("Wanna stay with me?") and gives the kid his wish. But, because of the accident, he's slightly spooked about getting into a car again, and soon, because he needs to scrape by enough money for the kid's education, is forced to driving cars for a living.This is sort of confusing to follow (mainly because the print I saw is severely banged up), filled with annoying characters (That Italian couple got on me nerves!) and a sappy cloying child actor. Ugh.