Women Won't Tell (1933)

66-67 mins | Melodrama | 1 January 1933

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HISTORY

The working title of this film was The Woman Nobody Knows. According to VarB, the film at the end includes newsreel shots of tennis champion Helen Wills doubling for the child who has grown up to be a tennis champion. Var, in their review of the film, states that it was "apparantly made because a major company is doing Goose Woman over again." The Goose Woman was a 1925 Universal film based on a Rex Beach story, directed by Clarence Brown and starring Louise Dresser, whose plot and setting bear some similarity to this film in that both feature a woman rearing a child in poverty, and a trial involving a wealthy man (see AFI Catalog of Feature Films, 1921-30; F2.2198). The film to which Var makes reference was the 1933 RKO production The Past of Mary Holmes (see above). ...

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The working title of this film was The Woman Nobody Knows. According to VarB, the film at the end includes newsreel shots of tennis champion Helen Wills doubling for the child who has grown up to be a tennis champion. Var, in their review of the film, states that it was "apparantly made because a major company is doing Goose Woman over again." The Goose Woman was a 1925 Universal film based on a Rex Beach story, directed by Clarence Brown and starring Louise Dresser, whose plot and setting bear some similarity to this film in that both feature a woman rearing a child in poverty, and a trial involving a wealthy man (see AFI Catalog of Feature Films, 1921-30; F2.2198). The film to which Var makes reference was the 1933 RKO production The Past of Mary Holmes (see above).

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PERSONAL & COMPANY INDEX CREDITS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Film Daily
13 Jan 1933
p. 5
Harrison's Reports
21 Jan 1933
p. 11
HF
5 Nov 1932
p. 16
VarB
6-Jan-33
---
Variety
17 Jan 1933
p. 25
DETAILS
Alternate Title:
The Woman Nobody Knows
Release Date:
1 January 1933
Production Date:
Nov 1932 at Universal City
Physical Properties:
Sound
R.C.A. Photophone
Black and White
Duration(in mins):
66-67
Length(in feet):
6,216
Length(in reels):
7
Country:
United States
SYNOPSIS

A woman lives in the city dump, where, among the refuse, she ekes out a living collecting and selling junk. She finds an abandoned child there and rears the girl with much sacrifice. When the woman learns that a wealthy manufacturer has died and that he has left his estate to his estranged wife, the woman tries to claim the estate so that she can provide for the child, but she is arrested and jailed for perjury. The woman actually is the widow of the manufacturer, who abandoned her because of his ambitions. She is finally exonerated when her friends bring a witness to her trial, who tells of the shotgun wedding in Tennessee of the woman and the manufacturer and explains that he was one of the people holding a shotgun. In the end, it is also learned that the child, rather than being illegitimate, actually was born in wedlock before being abandoned at the dump. The child later develops into a tennis ...

More Less

A woman lives in the city dump, where, among the refuse, she ekes out a living collecting and selling junk. She finds an abandoned child there and rears the girl with much sacrifice. When the woman learns that a wealthy manufacturer has died and that he has left his estate to his estranged wife, the woman tries to claim the estate so that she can provide for the child, but she is arrested and jailed for perjury. The woman actually is the widow of the manufacturer, who abandoned her because of his ambitions. She is finally exonerated when her friends bring a witness to her trial, who tells of the shotgun wedding in Tennessee of the woman and the manufacturer and explains that he was one of the people holding a shotgun. In the end, it is also learned that the child, rather than being illegitimate, actually was born in wedlock before being abandoned at the dump. The child later develops into a tennis champion.

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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.