Story of the goings-on at a Prohibition-era nightclub.Story of the goings-on at a Prohibition-era nightclub.Story of the goings-on at a Prohibition-era nightclub.
Alice Adair
- Chorine
- (uncredited)
Consuelo Baker
- Chorus Girl
- (uncredited)
Frank Beal
- Bit
- (uncredited)
Louise Beavers
- Maid
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe costumes the chorus girls wear in the second number (which ends act one) are reused from the "Happy Feet" number from King of Jazz (1930)
- Quotes
Tim Washington, the Doorman: The wrong people always likes the wrong people.
- ConnectionsFeatured in The Universal Story (1996)
Featured review
Odd little film for buffs
Poor Mae Clark was in loads of films yet is most known for getting a grapefruit in the kisser from James Cagney in 'Public Enemy.' So it's nice to see her in a part with a few more brains. She is just part of an odd mixed-salad of a cast. Some, like Boris Karloff as an awkwardly gangly night-club owner, and Bert Roach as a silly drunk, seem to be in strange waters. Others, like Lew Ayers and George Raft, get roles typical of their young careers. Though she has only one scene in this very short film, Hedda Hopper steals the show as the world's worst mother.
The only character to really warm to is The Doorman, Tim Washington (Clarence Muse). He is clearly in a horrible situation which those around pity at best and ignore at worst. So many African-American roles in the white films of the '30s are painful to watch, but Muse brings something special to this thankless part.
Cinematographer Merritt Gerstad shows an inventive eye both in the opening montage and in scenes that would otherwise be nothing to look at. And of course, we get brief Busby Berkeley numbers, which would never really work in a night club, but allowances must be made for Hollywood.
The only character to really warm to is The Doorman, Tim Washington (Clarence Muse). He is clearly in a horrible situation which those around pity at best and ignore at worst. So many African-American roles in the white films of the '30s are painful to watch, but Muse brings something special to this thankless part.
Cinematographer Merritt Gerstad shows an inventive eye both in the opening montage and in scenes that would otherwise be nothing to look at. And of course, we get brief Busby Berkeley numbers, which would never really work in a night club, but allowances must be made for Hollywood.
helpful•174
- ROCKY-19
- Oct 5, 2006
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Details
- Runtime58 minutes
- Color
- Aspect ratio
- 1.37 : 1
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