A mob boss' gang gets suspicious about their boss' new girlfriend, a beautiful young girl who doesn't seem to be the type who'd hang out with gangsters. They're not quite certain if she's actually a police agent or just a "groupie".
Okay, so Dressed to Kill isn't going to be anyone's entry point into classic cinema. If you're looking for something to just throw on and relax with, you'll probably bounce off it hard. But if you have a soft spot for early talkies, for the strange, often clunky charm of pre-Code Hollywood trying to figure itself out, ...
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behind_the_scenes
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Comparing the cinematic DNA and archive impact of two defining moments in cult history.
Irving Cummings
Harry Southwell
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"Okay, so Dressed to Kill isn't going to be anyone's entry point into classic cinema. If you're looking for something to just throw on and relax with, you'll probably bounce off it hard. But if you have a soft spot for early talkies, for the strange, often clunky charm of pre-Code Hollywood trying to figure itself out, and especially if you're a Mary Astor completist, then yeah, there's something here. It’s a specific taste, for sure. Think of it less as a polished film and more like a historical..."
Howard Estabrook, Malcolm Stuart Boylan, William M. Conselman, Irving Cummings, Paul Gerard Smith
United States
