Panama Lady (1939)

64 mins | Drama | 12 May 1939

Director:

Jack Hively

Writer:

Michael Kanin

Producer:

Cliff Reid

Cinematographer:

J. Roy Hunt

Editor:

Theron Warth

Production Designer:

Van Nest Polglase

Production Company:

RKO Radio Pictures, inc.
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HISTORY

The working title of this film was The Second Shot . It was a remake of RKO's 1932 film Panama Flo (see ... More Less

The working title of this film was The Second Shot . It was a remake of RKO's 1932 film Panama Flo (see above). More Less

BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
Daily Variety
5 May 39
p. 3.
Film Daily
9 May 39
p. 6.
Hollywood Reporter
4 Mar 39
pp. 6-7.
Hollywood Reporter
5 May 39
p. 3.
Motion Picture Daily
10 May 39
p. 8.
Motion Picture Herald
13 May 39
p. 42.
New York Times
2 Jun 39
p. 27.
Variety
7 Jun 39
p. 12.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
PRODUCERS
Prod
Prod exec
WRITERS
Story
PHOTOGRAPHY
Photog
ART DIRECTORS
Art dir assoc
FILM EDITOR
COSTUMES
MUSIC
Mus dir
SOUND
VISUAL EFFECTS
Spec eff
DETAILS
Alternate Title:
The Second Shot
Release Date:
12 May 1939
Production Date:
began late February 1939
Copyright Claimant:
RKO Radio Pictures, inc.
Copyright Date:
19 May 1939
Copyright Number:
LP8855
Physical Properties:
Sound
RCA Victor System
Black and White
Duration(in mins):
64
Length(in feet):
5,877
Country:
United States
PCA No:
5179
SYNOPSIS

Lucy, a cabaret girl stranded in Panama, is so desperate for money that she reluctantly agrees to join bar girls Lenore and Pearl in robbing Dennis McTeague, one of their drunken customers. When he awakens, McTeague summons the police, and to save herself from jail, Lucy agrees to accompany him to South America, where he is drilling for oil, and work as his housekeeper. Before departing, Lucy leaves a note for Roy Harmon, her boyfriend, telling him that she has gone with McTeague. When Roy, a smuggler, receives the note, he has just been raided and, assuming that Lucy was the person who tipped off his enemies, goes after her. Meanwhile, in the jungles of South America, Lucy has fallen in love with McTeague, engendering the jealousy of Cheema, his native girl friend. Roy arrives just as McTeague strikes oil and decides to steal the claim papers, but is prevented from doing so by Cheema, who kills him and then frames her rival, Lucy, for the murder. When McTeague returns from his oil camp and learns of Lucy's danger, he forces her to return to the States for her own protection. Later, McTeague, now a rich man, finds Lucy in New York, and the past is forgotton as both realize that their earlier association was the beginning of ... +


Lucy, a cabaret girl stranded in Panama, is so desperate for money that she reluctantly agrees to join bar girls Lenore and Pearl in robbing Dennis McTeague, one of their drunken customers. When he awakens, McTeague summons the police, and to save herself from jail, Lucy agrees to accompany him to South America, where he is drilling for oil, and work as his housekeeper. Before departing, Lucy leaves a note for Roy Harmon, her boyfriend, telling him that she has gone with McTeague. When Roy, a smuggler, receives the note, he has just been raided and, assuming that Lucy was the person who tipped off his enemies, goes after her. Meanwhile, in the jungles of South America, Lucy has fallen in love with McTeague, engendering the jealousy of Cheema, his native girl friend. Roy arrives just as McTeague strikes oil and decides to steal the claim papers, but is prevented from doing so by Cheema, who kills him and then frames her rival, Lucy, for the murder. When McTeague returns from his oil camp and learns of Lucy's danger, he forces her to return to the States for her own protection. Later, McTeague, now a rich man, finds Lucy in New York, and the past is forgotton as both realize that their earlier association was the beginning of love. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.