7.3/10
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Gebrandmerkt (1937)

Marked Woman (original title)
A crusading DA persuades a clip joint "party girl" to testify against her mobster boss after her innocent sister is accidentally murdered during one of his unsavory "parties".

Directors:

Lloyd Bacon, Michael Curtiz (uncredited)

Writers:

Robert Rossen (original screen play), Abem Finkel (original screen play)
Reviews
1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Bette Davis ... Mary Dwight Strauber
Humphrey Bogart ... David Graham
Lola Lane ... Dorothy 'Gabby' Marvin
Isabel Jewell ... Emmy Lou Eagan
Rosalind Marquis ... Florrie Liggett
Mayo Methot ... Estelle Porter
Jane Bryan ... Betty Strauber
Allen Jenkins ... Louie
Eduardo Ciannelli ... Johnny Vanning
John Litel ... Gordon
Ben Welden ... Charlie Delaney
Damian O'Flynn ... Ralph Krawford
Henry O'Neill ... District Attorney Arthur Sheldon
Raymond Hatton ... Vanning's Lawyer
Carlos San Martín Carlos San Martín ... Head Waiter
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Storyline

In this roman-a-clef for the infamous Lucky Luciano Trial, Mary Dwight and four roommates work as hostesses at the Club Intime, a "clip joint" that offers gambling, liquor, and female companionship to the "big spender" clientèle. When ruthless thug and pimp Johnny Vanning takes over all the clubs in town, the girls are forced to follow Vanning's rules and kick back on their "tips" in exchange for protection. Although she is not a hardened old hand like Gabby and Estella, Mary knows enough to sidestep Vanning's amorous advances. Unfortunately the more naive Mary Lou is impressed by Vanning's oily veneer of materialism and accepts invitations to "entertain" at the gangster's private parties. Mary's naive younger sister Betty arrives from college just when Mary and her roommates are arrested as material witnesses in the murder of one of the casino's non-paying customers. Vanning's corrupt lawyer frees the others but pressures Mary to commit perjury in order to discredit crusading ... Written by duke1029

Plot Summary | Add Synopsis

Taglines:

A Star Teaming You'll Never Forget! See more »


Certificate:

See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

10 April 1937 (USA) See more »

Also Known As:

Gebrandmerkt See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Dedicated to realism, Bette Davis left the set when the makeup department outfitted her with dainty bandages for the hospital scene following the physical attack on her character by mobsters. She drove to her own doctor and instructed him to bandage her as he would a badly beaten woman. Returning to the set, she declared, "You shoot me this way, or not at all!" They did. See more »

Goofs

When Emmy Lou gets out of the elevator at the thirty-fifth floor, she leaves the threatening gangsters behind, but they are there waiting for her when the elevator opens on the ground floor. See more »

Quotes

Johnny Vanning: [talking to the hostesses in an intimidating manner] I'm taking over this joint. From now on you're working for me. Most of you know how I operate. If you don't, read the papers and find out!
See more »

Connections

Referenced in Biography: Humphrey Bogart (2003) See more »

Soundtracks

Mister and Missus Doakes
(1936) (uncredited)
Music by Harry Warren
Lyrics by Al Dubin
Sung by Lola Lane
See more »

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User Reviews

 
Women Of the Night
22 December 2002 | by telegonusSee all my reviews

Lloyd Bacon directed this tough, fast-paced film about "hostesses" in a nightclub run by a ruthless gangster. Star Bette Davis shines in the leading role, but it's cobra-like Eduardo Ciannelli who steals the film as the crime kingpin. A sleek, urbane actor, Ciannelli was a doctor before turning to the stage. He made his film debut in the previous year's Winterset, and would go along to become a top movie villain for the next several decades. Ciannelli had about him an air of refined cruelty that made him compelling to watch. Humphrey Bogart's in this one, too, in a thankless role as a crusading D.A. He's competent, but shows none of his later charisma. Unambiguous virtue was not his strong suit.

Life in the big city during the Depression is presented with admirable realism. The sets are nothing to write home about, and technically the movie is no more than competent. That the women in the story could not be presented as prostitutes limits it somewhat, lending a certain vagueness to their activities. One has to do a lot of reading between the lines in this one. Marked Woman isn't a classic by any means, yet it's an excellent example of top-notch studio film-making.


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