Alias a Gentleman (1948)

74-75 mins | Comedy-drama | March 1948

Director:

Harry Beaumont

Producer:

Nat Perrin

Cinematographer:

Ray June

Editor:

Ben Lewis

Production Designers:

Cedric Gibbons, Stan Rogers

Production Company:

Metro-Goldwyn-Mayer Corp.
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HISTORY

While the SAB lists Sidney Sidman as the assistant director, HR production charts list Tom ... More Less

While the SAB lists Sidney Sidman as the assistant director, HR production charts list Tom Andre. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
31 Jan 1948.
---
Daily Variety
3 Feb 48
p. 3.
Film Daily
3 Feb 48
p. 6.
Hollywood Reporter
25 Apr 47
p. 16.
Hollywood Reporter
6 Jun 47
p. 14.
Hollywood Reporter
3 Feb 48
p. 3.
Motion Picture Herald Product Digest
7 Feb 48
p. 4050.
Variety
28 Jan 48
p. 11.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Asst dir
PRODUCER
Prod
WRITERS
Story
PHOTOGRAPHY
Dir of photog
ART DIRECTORS
Art dir
Art dir
FILM EDITOR
Film ed
SET DECORATORS
Set dec
MUSIC
Mus score
SOUND
Rec dir
MAKEUP
Makeup created by
DETAILS
Release Date:
March 1948
Production Date:
mid April--mid June 1947
Copyright Claimant:
Loew's Inc.
Copyright Date:
20 January 1948
Copyright Number:
LP1452
Physical Properties:
Sound
Western Electric Sound System
Black and White
Duration(in mins):
74-75
Length(in feet):
6,788
Length(in reels):
8
Country:
United States
PCA No:
12507
Passed by NBR:
Yes
SYNOPSIS

Soon after arriving at the prison honor farm where he is to begin serving time for his involvement in a robbery, young and petulant Johnny Lorgen starts a fight with Jim Breedin, the prisoner foreman and a fifteen-year honor farm veteran. After knocking the newcomer unconscious, Jim earns his respect and starts him on the path to self-reform. Johnny's friendship with Jim angers fellow prisoner and hardened criminal Jig Johnson, who later attempts to knife Johnny. Jim, however, steps in front of Jig as he lunges for Johnny and takes the knife himself. Later, when Jim is offered $250,000 for his abandoned farm in Oklahoma by Jim Carruthers, an oil company representative, he becomes concerned that his daughter Nora, from whom he has kept his sentence a secret, has disappeared and is no longer tending the farm. Unaware that Nora was killed in an automobile accident some time before, Jim signs a deal with Carruthers when the oil man promises to search for her. In the meantime, Jim makes preparations for life after prison by learning the rules of gentlemanly etiquette and trying them out on No End, his ill-mannered pal. Upon his release from prison, Jim turns his dream of living in a lavish penthouse into reality, and uses the money he made from the oil sale to buy a new place for himself. Despite having sworn off the world of crime, Jim soon finds himself entangled with his old crime boss, mobster Matt Enley, who accuses Jim of making off with money stolen during past jobs. In the hope of getting at the missing money, and realizing that Jim could ... +


Soon after arriving at the prison honor farm where he is to begin serving time for his involvement in a robbery, young and petulant Johnny Lorgen starts a fight with Jim Breedin, the prisoner foreman and a fifteen-year honor farm veteran. After knocking the newcomer unconscious, Jim earns his respect and starts him on the path to self-reform. Johnny's friendship with Jim angers fellow prisoner and hardened criminal Jig Johnson, who later attempts to knife Johnny. Jim, however, steps in front of Jig as he lunges for Johnny and takes the knife himself. Later, when Jim is offered $250,000 for his abandoned farm in Oklahoma by Jim Carruthers, an oil company representative, he becomes concerned that his daughter Nora, from whom he has kept his sentence a secret, has disappeared and is no longer tending the farm. Unaware that Nora was killed in an automobile accident some time before, Jim signs a deal with Carruthers when the oil man promises to search for her. In the meantime, Jim makes preparations for life after prison by learning the rules of gentlemanly etiquette and trying them out on No End, his ill-mannered pal. Upon his release from prison, Jim turns his dream of living in a lavish penthouse into reality, and uses the money he made from the oil sale to buy a new place for himself. Despite having sworn off the world of crime, Jim soon finds himself entangled with his old crime boss, mobster Matt Enley, who accuses Jim of making off with money stolen during past jobs. In the hope of getting at the missing money, and realizing that Jim could not possibly recognize his daughter after his fifteen-year absence, Enley has his girl friend, Elaine Carter, pose as Nora and presents her as Jim's long-lost daughter. Jim readily accepts Elaine as Nora and lavishes all the affection he has on her. When Johnny, who is now out of prison, drops by to visit Jim, he immediately falls in love with Elaine. Johnny has not reformed, however, and asks Jim to introduce him to Enley for a "job." Jim offers Johnny money to keep him out of trouble, but Johnny refuses Jim's help and soon goes to work for Enley. Unable to bear Enley's impossible demands, Elaine tells Johnny the truth about the Enley's scheme and prepares to leave town. Jim, too, learns the truth about Elaine, but he forgives her and rushes to her aid when she is attacked by Enley's men. Jim then marches over to Enley's office and takes a slug at the mob boss, but Enley counters by ransoming Elaine, who has been taken hostage, for all Jim's money. Jim follows Enley's orders and brings the money to Enley's nightclub, but he manages to gain the upper hand when he grabs a partly concealed gun from a passing waiter and points it a Enley. A gun battle ensues until the police arrive and arrest the gangsters. Jim then adopts Elaine as his daughter and invites Johnny to move in with them. +

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.