The Widow From Chicago (1930)

63 mins | Melodrama | 23 November 1930

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HISTORY

A news brief in the 2 April 1930 Variety claimed that First National Pictures, Inc. made an offer to real-life gangster Al Capone to appear in this film. Just prior to production, lead actress Alice White traveled to Chicago, IL, as noted in the 4 April 1930 Los Angeles Evening Citizen News, which quoted White as saying, “Now I know all about Chicago and, can feel quite natural in [the role of Polly].”
       William A. Seiter was initially attached to direct, as stated in the 8 April 1930 [New York, NY] Daily News. The 21 April 1930 Film Daily reported that filming began that week under Seiter’s direction, with cast members including Paul Page, Robert Agnew, Myrna Loy, and Douglas Gilmore. Shortly after, the 3 May 1930 Los Angeles Evening Post-Record indicated that shooting was now taking place under the direction of Edward Cline. Principal photography was completed at First National’s studio in Burbank, CA, by late June 1930, according to the 22 June 1930 [Sious Falls, SD] Argus-Leader.
       An item in the 25 November 1930 Exhibitors Daily Review and Motion Pictures Today reported that Mike Donlin, formerly a professional baseball player for the New York Giants, appeared in a speaking role in this film.
       While reviews credited Earl Baldwin with the story and screenplay, the 14 April 1930 Exhibitors Daily Review and Motion Pictures Today stated that the film was based on a story by Roy Davis, adapted by Baldwin. ...

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A news brief in the 2 April 1930 Variety claimed that First National Pictures, Inc. made an offer to real-life gangster Al Capone to appear in this film. Just prior to production, lead actress Alice White traveled to Chicago, IL, as noted in the 4 April 1930 Los Angeles Evening Citizen News, which quoted White as saying, “Now I know all about Chicago and, can feel quite natural in [the role of Polly].”
       William A. Seiter was initially attached to direct, as stated in the 8 April 1930 [New York, NY] Daily News. The 21 April 1930 Film Daily reported that filming began that week under Seiter’s direction, with cast members including Paul Page, Robert Agnew, Myrna Loy, and Douglas Gilmore. Shortly after, the 3 May 1930 Los Angeles Evening Post-Record indicated that shooting was now taking place under the direction of Edward Cline. Principal photography was completed at First National’s studio in Burbank, CA, by late June 1930, according to the 22 June 1930 [Sious Falls, SD] Argus-Leader.
       An item in the 25 November 1930 Exhibitors Daily Review and Motion Pictures Today reported that Mike Donlin, formerly a professional baseball player for the New York Giants, appeared in a speaking role in this film.
       While reviews credited Earl Baldwin with the story and screenplay, the 14 April 1930 Exhibitors Daily Review and Motion Pictures Today stated that the film was based on a story by Roy Davis, adapted by Baldwin.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Argus-Leader [Sioux Falls, SD]
22 Jun 1930
p. 26
Exhibitors Daily Review and Motion Pictures Today
14 Apr 1930
p. 6
Exhibitors Daily Review and Motion Pictures Today
25 Nov 1930
p. 2
Film Daily
18 Apr 1930
p. 10
Film Daily
21 Apr 1930
p. 7
Film Daily
21 Dec 1930
---
Los Angeles Evening Citizen News
4 Apr 1930
p. 8
Los Angeles Evening Post-Record
3 May 1930
p. 12
Motion Pictures Daily
27 Dec 1930
p. 8
New York Daily News
8 Apr 1930
p. 356
New York Times
20 Dec 1930
p. 20
Variety
2 Apr 1930
p. 2
Variety
24 Dec 1930
p. 20
DETAILS
Release Date:
23 November 1930
Production Date:
late Apr--late Jun 1930
Copyright Info
Claimant
Date
Copyright Number
First National Pictures, Inc.
29 November 1930
LP1778
Physical Properties:
Sound
Vitaphone
Black and White
Duration(in mins):
63
Length(in feet):
5,773
Length(in reels):
7
Country:
United States
Language:
English
SYNOPSIS

Lieutenant Finnegan of the New York Police Department and Jimmy Henderson, youngest detective on the force, board an inbound train trailing "Swifty" Dorgan, a Chicago gangster en route to work for Dominic, a local underworld figure. Dorgan leaps from the train at a bridge crossing and is thought to be killed. Planting a newspaper story that Dorgan escaped from the police, Jimmy assumes the gangster's identity and joins Dominic's gang. However, he is shot down by the mob. Determined to avenge her brother's death, Polly poses as Swifty Dorgan's widow and gets work in Dominic's nightclub. When Dorgan actually returns, Polly persuades him to acquiese to her scheme, and he considers reforming. During an attempted holdup, Polly shoots a detective to protect Dorgan and later unwittingly gets a confession from Dominic that he killed her brother. Cornered by police, he uses Polly as a shield, but Dominic and Dorgan shoot it out until Dominic is forced to ...

More Less

Lieutenant Finnegan of the New York Police Department and Jimmy Henderson, youngest detective on the force, board an inbound train trailing "Swifty" Dorgan, a Chicago gangster en route to work for Dominic, a local underworld figure. Dorgan leaps from the train at a bridge crossing and is thought to be killed. Planting a newspaper story that Dorgan escaped from the police, Jimmy assumes the gangster's identity and joins Dominic's gang. However, he is shot down by the mob. Determined to avenge her brother's death, Polly poses as Swifty Dorgan's widow and gets work in Dominic's nightclub. When Dorgan actually returns, Polly persuades him to acquiese to her scheme, and he considers reforming. During an attempted holdup, Polly shoots a detective to protect Dorgan and later unwittingly gets a confession from Dominic that he killed her brother. Cornered by police, he uses Polly as a shield, but Dominic and Dorgan shoot it out until Dominic is forced to surrender.

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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.