mark.waltz This is a surprisingly attractive "B" drama from one of poverty row's longest running studios, one which seems almost like something Paramount might have expanded on. (Even the opening title looks like one of Paramount's title cards). It's all about a young playboy framed for murder and struggling to find the actual killer after he escapes from the prison train. A bunch of obvious stock footage mixes in nicely with the newly filmed material, and the acting (particularly John Darrow as the accused playboy, Mary Brian as the socialite who loves him and Yola D'Avril and Astrid Allyn as sordid femme fatals) is right on target. Usually associated with Z-grade westerns, crime dramas and poorly filmed horror movies, Monogram on occasion threw in something a bit above the usual grade, and this is one of them.

csteidler Larry and Mary, young stars of high society, eye each other from their respective boxes at the race track. Mary's aunt warns her that Larry is "notorious"; Mary coolly replies that he's awfully good looking. Larry rides his own horse in the steeplechase—and is thrown off. Faking injury, he catches a ride to the hospital with his head on Mary's shoulder…and the two are quickly engaged. From there the plot takes a while to develop, but eventually….Larry is (mistakenly) convicted of killing a gambling hall owner, escapes from the train on the way to prison, and somehow makes his way to….Monte Carlo! where he suspects the real killer has fled. In Monte Carlo, he befriends a young French woman who becomes devoted to him, and pursues his only clue: the killer always plays numbers 7, 14, 28 and 29 on the roulette table.John Darrow and Mary Brian do well as Larry and Mary; both develop interesting and distinctive characters that viewers can root for. To the newspapers, Mary is "Little Mary of the Vernon Millions," but she quickly establishes an independent streak that worries her protective aunt. Larry has "a reputation" but he's charming and dashing and—it turns out—tough and resourceful.George Hayes plays the other major character, a police detective named Gunby—yes, a detective in a coat and tie. He watches with narrowed eyes, asks questions and adds up details, concludes that Larry is indeed innocent…and also sets out for Monte Carlo to hunt for the real killer.Astrid Allwyn is excellent as a dangerous blonde who tries to pull a fast one on Larry and Gunby. An actress named Yola d'Avril is sad but loyal as Larry's Monte Carlo assistant. There's no shortage of plot in this 62-minute adventure. And it keeps the viewer guessing—the suspense is not exactly unbearable, but it does build nicely to a well done climactic scene. Fans of Monogram's 1930s westerns will enjoy not only George Hayes but a quick glimpse of the great Yakima Canutt phoning the police—in a tuxedo!

gridoon2018 I searched for this film for one reason only: I really liked Mary Brian in the W. C. Fields film "The Man On The Flying Trapeze", and wanted to see more of her. She is sweet and beautiful but a little bland in this film; in fact, I would say that two other actresses, Yola d'Avril as a French girl who loves the hero but is not loved back and Astrid Allwyn as the killer's girlfriend, make more of an impression. Although it is made by Monogram studios, which have a reputation for cheapness, "Monte Carlo Nights" has higher-than-expected production values, including a horse steeplechase and a daring jump from a moving train. But the story is unlikely, short on mystery, and not very engaging. This is not a bad movie, but if you miss it, you won't be missing much. ** out of 4.

ptb-8 Well! I like this film and here's why: it is very well made, it has two excellent good looking stars in beautiful Mary Bryant and handsome John Darrow, it is MODERN as a 1934 pic can be, it is actually interesting, a lot of care is evident s the casting and costumes... and the art direction, set design and budget is clearly on show on screen. Best of all for me is that it is a 1934 Monogram Picture and this little film company started in 1931 as a very low rung indie was really getting up into big theatrical bookings and excellent box office success. This is a good small film with very strong screen cred. It comes from a small pulp fiction dime novel whodunit by schlockmeister E Phillips Oppenheim who possible ground out dozens of mystery thrillers in the 20s. Like KING KELLY OF THE USA made the same year at Monogram, it is a calling card to big chain theaters: this little film company was striving to please; and this film does in the ways described above. And at 60 minutes or so, it would have been booked everywhere and very profitable.... as I said on the KELLY comments... no wonder big bad wolf Herbert J Yates was waiting to gobble them up into Republic Pictures the next year, as he did, until Monogram wriggled free in 1937 and rattled on until 1988 (as Allied Artists). This is antique talkie fun... and very well made.