The title and the plot are goofy...yet I liked it!

Film Is Totally Implausible, But Loretta Looks Great!

Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, USA

Sterling Hayden and Barbara Stanwyck in Crime of Passion (1956)

Pat O'Brien, Anne Jeffreys, and Walter Slezak in Riffraff (1947)

Joseph Cotten and Teresa Wright in The Steel Trap (1952)

Gary Cooper, David Brian, Frank Davis, André De Toth, Paul Kelly, Phyllis Thaxter, and Charles Marquis Warren in Springfield Rifle (1952)

Constance Dowling and Chester Morris in Blind Spot (1947)

Errol Flynn and Brenda Marshall in Footsteps in the Dark (1941)

Bette Davis and Donald Woods in Fog Over Frisco (1934)

John Boles and Rosalind Russell in Craig's Wife (1936)

Robert Young and Betsy Drake in The Second Woman (1950)

Whitney Blake and Robert Bray in My Gun Is Quick (1957)

George Barraud, Raymond Hatton, and Loretta Young in Road to Paradise (1930)

Georgette Rhodes in Road to Paradise (1930)

Winter Hall and Fred Kelsey in Road to Paradise (1930)

Raymond Hatton in Road to Paradise (1930)

George Barraud in Road to Paradise (1930)

Ben Hendricks Jr. and Kathlyn Williams in Road to Paradise (1930)

Loretta Young

Jack Mulhall

Raymond Hatton

Dodson Mitchell

F. Hugh Herbert

Zelda Sears

A young woman falls in with a gang of criminals, and when they rob a wealthy socialite&apos;s house, she finds her long-lost twin sister.

William Beaudine

Road to Paradise

Watch for Loretta Young (x2) only

&quot;Why, she looks more like me than I do myself.&quot;

This pre-Coder has not one but two young Loretta Young&apos;s, and at age 17 she&apos;s as composed and radiant as ever. I wish I could say she was put to good use, but the premise to this one is about as farfetched as they come. Twin sisters have been separated at birth, and one of them has been raised by thieves (but has an honorable streak &quot;a yard wide,&quot; to their consternation), and the other has been raised in affluence. The former is persuaded by her &quot;fathers&quot; to help rob from the mansion of the latter one night, after a little surveillance work in disguise as an inspector has resulted in the butler blatantly telling them that they have no burglar alarms. Oh, and did I mention that the twins are psychic too, literally able to read the minds of others if they concentrate and repeat the saying on a little charm they have on their necklace? We find this odd fact out for the crooked sister early on, and while it&apos;s unused for the longest time, naturally it will play a crucial role in the story later.

Aside from how ridiculous this is, the investigation which follows when the burglary is botched grinds the film to a crawl, and there are repeated instances of questionable character motivations. The ending is also all tidied up in a way that&apos;s most unsatisfying, particularly when you think of the possible directions the story could have taken. Certainly don&apos;t watch this if you expect the title to mean anything either, because it doesn&apos;t; it&apos;s just another example of the studio marketing departments that seemed to work with particular zeal in 1930-31 to find ways of enticing customers to go to the cinema in the early years of the Depression.

The story is at its most interesting in the beginning, when we get little bits like the less well off Young character informing her fathers that she had to leave her job for the same old reason, that her boss had gotten &quot;fresh&quot; with her, calling out harassment in the workplace while at the same time informing us of her virtuousness. We also get a Chinese American waiter saying tersely, without a stereotypical accent, that they don&apos;t serve &quot;seagull&quot; in response to a snarky comment. Those are just little tidbits of course, and during the bulk of the film there isn&apos;t snappy dialogue, pre-Code naughtiness, or any other little things from the period peppered in which might sustain interest. It&apos;s just Loretta Young, who certainly ain&apos;t bad, but even fans of hers should keep their expectations low for this film.

"Why, she looks more like me than I do myself."

This pre-Coder has not one but two young Loretta Young's, and at age 17 she's as composed and radiant as ever. I wish I could say she was put to good use, but the premise to this one is about as farfetched as they come. Twin sisters have been separated at birth, and one of them has been raised by thieves (but has an honorable streak "a yard wide," to their consternation), and the other has been raised in affluence. The former is persuaded by her "fathers" to help rob from the mansion of the latter one night, after a little surveillance work in disguise as an inspector has resulted in the butler blatantly telling them that they have no burglar alarms. Oh, and did I mention that the twins are psychic too, literally able to read the minds of others if they concentrate and repeat the saying on a little charm they have on their necklace? We find this odd fact out for the crooked sister early on, and while it's unused for the longest time, naturally it will play a crucial role in the story later.

Aside from how ridiculous this is, the investigation which follows when the burglary is botched grinds the film to a crawl, and there are repeated instances of questionable character motivations. The ending is also all tidied up in a way that's most unsatisfying, particularly when you think of the possible directions the story could have taken. Certainly don't watch this if you expect the title to mean anything either, because it doesn't; it's just another example of the studio marketing departments that seemed to work with particular zeal in 1930-31 to find ways of enticing customers to go to the cinema in the early years of the Depression.

The story is at its most interesting in the beginning, when we get little bits like the less well off Young character informing her fathers that she had to leave her job for the same old reason, that her boss had gotten "fresh" with her, calling out harassment in the workplace while at the same time informing us of her virtuousness. We also get a Chinese American waiter saying tersely, without a stereotypical accent, that they don't serve "seagull" in response to a snarky comment. Those are just little tidbits of course, and during the bulk of the film there isn't snappy dialogue, pre-Code naughtiness, or any other little things from the period peppered in which might sustain interest. It's just Loretta Young, who certainly ain't bad, but even fans of hers should keep their expectations low for this film.

A young woman falls in with a gang of criminals, and when they rob a wealthy socialite's house, she finds her long-lost twin sister.

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