Spoonixel Amateur movie with Big budget

Lancoor A very feeble attempt at affirmatie action

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

mark.waltz Married to a much older man, former dancer Kay Francis finds herself being blackmailed by her amorous former partner and heads off to Havana for a little R&R. She finds herself spending time with the handsome George Brent whom she is unaware is a private detective hired by her husband! The nights of champagne, caviar and dancing make her giddy, but it's obvious that the revelation won't fall well with Francis when she finds out!Amusing pre-code melodrama is more about the clothes, sets and dialog than the plot of which there is very little. Francis and Brent are a perfect pair, and providing comic relief are Allen Jenkins as a detective posing as Brent's valet and Glenda Farrell as an obvious gold digger. Henry Kolker's foolish older tycoon husband is up there with Edward Arnold and Otto Kruger as late middle aged men who got younger women to marry them, remaining pretty much sexless. This is fun for the glitz, but really has little else to offer other than the four leads and the fantasy that only pre-code Hollywood could give.

JLRMovieReviews Get ready for some Kay Francis melodramatic fun! Kay is married to Henry Kolker, but a past suitor shows up to blackmail her with the fact they're still married. She goes to her much older sister-in-law for her advice. She says that, if Kay can get him out of the country, she can make it so that he can't get back into America. Their plan is that Kay asks for a vacation away from her husband for this purpose, but hubbie is jealous and suspicious. He hires an investigator to follow her and report her movements to him. Similar to Doris Day's "Romance on the High Seas," investigator George Brent then tails Kay and in the process falls for her and she him. Provocatively titled "The Keyhole," this film delivers melodrama with humor and Kay and George have always had great screen chemistry. They made many a film together because of it. Their scenes together are seductive and glamorous fun! Glenda Farrell and Allen Jenkins are part of the dependable supporting cast, and Henry Kolker has a great scene near the end of the film. "The Keyhole" is a great example Pre-Code storytelling! Turn the key and come in - and, lock the door!

lpeterson2 OK... I've been more or less watching Kay Francis films and am I the only one who noticed George Brent always ends up being the boyfriend?? Well the basic plot of this thing is Kay's first husband is blackmailing her.Her current husband thinks she's cheating or something. And the P.I. falls in love with her. I'm an old movie fan but people fall in love as easy as I can scramble an egg This formula of the long suffering Kay wears on me thin. Yeah she's pretty but I'm being to understand why no one remembers her. Youknow at first I liked her movies. But after what feels like I'm watching the same movie it gets on my nerves. And I used to like George Brent, but the more I see him the duller he gets. I did like the side story with the "vallet" and the con artist but besides that it was OK. What I didn't get why didn't Kay just tell her husband the truth instead of this dumb plot .I guess if she did she wouldn't have a chance to fall for George Brent I gave it 6 for the clothes and that it moved fast.

elpep49 Kay Francis plays a woman being blackmailed by a former partner (Monroe Owsley). She discovers that he never got the divorce he promised and her new marriage is illegal. Hatching a scheme with her sister-in-law (Helen Ware), she flees to Havana, hoping the cad will follow. He does but so does the detective (George Brent) her husband hires to spy on her. Wild storyline becomes more believable as the film goes on because of the chemistry between Francis and Brent. Good support from Glenda Farrell, Allen Jenkins, and Clarence Wilson. This ranks as one of Kay Francis' best women's pictures of the early 30s--with One Way Passage and Confession.