Jack La Rue has had his murder sentenced commuted for good behavior. Actually, he never killed the man; that was done by someone he wants to look for. First, though, he wants to return to the old plantation, now owned by his sympathetic brother, Robert Kellard. His second wife, Marian Marsh, doesn't want a murderer in the house, so La Rue goes to work for them as a stable man. His niece, Mary Ruth, doesn't care, and her stepmother is always telling her to stop playing in the dirt. When the horse her father gave to Mary Ruth wins a race, I. Stanford Jolley wants to buy it. Kellard doesn't wish to but Miss Marsh insists.
And so forth and so forth. As is often the case, the best part of this movie is Clarence Muse, who plays a long-time employee, and who goes around singing spirituals and Stephen Foster songs, backed by the "Clarence Muse Singers." I never heard of them before, they don't have any other screen credits, and this is the only reference I can quickly find to them.
It's written by Fred Myton and directed by Albert Herman, two names that assure you that you aren't looking at an immortal classic. Still, it's a pleasant piece of sentimental nonsense that must have played well in the Whites-Only theaters down south.
And so forth and so forth. As is often the case, the best part of this movie is Clarence Muse, who plays a long-time employee, and who goes around singing spirituals and Stephen Foster songs, backed by the "Clarence Muse Singers." I never heard of them before, they don't have any other screen credits, and this is the only reference I can quickly find to them.
It's written by Fred Myton and directed by Albert Herman, two names that assure you that you aren't looking at an immortal classic. Still, it's a pleasant piece of sentimental nonsense that must have played well in the Whites-Only theaters down south.