Alex da Silva Society lady Kay Francis (Mrs Seymour) runs a canteen for servicemen during WW2 as well as a beauty parlour. Both these businesses are a front for her real money-maker which is marrying off women to servicemen to then collect their allocated pay as a war wife and also to cash in on the insurance if the servicemen die. Women are encouraged to marry several men at a time. One victim of this scam is the friend of Colonel Paul Kelly (Pete Martin) so Kelly agrees to go undercover to smash this organized criminal gang.This film is OK with a good performance by Kay at the centre of things and her sidekick Otto Kruger (Whitey) also does well as the chief heavy. The syndicate leader from Texas Matty Fain (Moranto) also plays his gangster role well. However, the film slips into sentimentality with Kay's teenage daughter Teala Loring (Connie) and the film slows in these sections and gets a bit boring. Another downfall is casting Paul Kelly as the man to crack the case. He can't act.The sound quality isn't too good but you can live with it – there's a background hissing. Allotment wives has nothing to do with gardening as the title suggests – it could have been a film about women meeting at their allotments and engaging in gossip. I'm grateful that it's not about that and I feel I've learnt something about the times depicted. Never crossed my mind that this sort of thing went on.

LeonLouisRicci Tough, Hard-Boiled "Social" Crime Drama from Low-Rent Monogram Pictures. This is one of Their Betters. Starring on the Skids, but not quite on Skid-Row, Kay Francis and the Always Reliable Paul Kelly with some, had been a Star, but not quite a Has-Been Support, from Otto Kruger as what else, a Snakey, but in the End more than just a Bad Guy.It has its Moments of Violence, Melodrama, and Social Commentary and is a Rather Engaging piece of Noirish Business. That of Unscrupulous Women Marrying Military Types by the Handful for not Love but Money. The Head of this 'Syndicate" is a Woman Herself (Miss Francis) who has a Daughter that Figures in quite Heavily in this Heavy Handedness.There are some Memorable Scenes in Bedrooms, Staircases, and Prison Cells that would seem to Fit Easily into Film-Noir, but its Flat and Less than Creative Style, mostly Overlit and Pedestrian, that keeps this one Barely Eligible, but does manage in the End to have Enough of what it Takes to be a Contender.

kidboots In 1945, with offers dwindling, Kay Francis made a last attempt at a film comeback by forming her own producing company with Jeffrey Bernerd. Bernerd was a feisty Englishman who had produced some exploitation movies, including "Where Are Your Children" and "Are These Our Parents". Even though Kay had been associated with studios such as Paramount and Warner Bros., the studio where Kay ended up making her last three movies was lowly Monogram, "the graveyard of burned out stars". Though Bernerd remembered her royal treatment in her heyday he was surprised at her ruthless penny pinching approach which included looking out for low budget stories and with "Allotment Wives" even rewriting the script. The picture had a 10 day shooting schedule with the main objective being to make money. Kay certainly did try to tackle hard hitting subjects, first with "Divorce" and now with "Allotment Wives" which tried to delve into the problem of women who bigamously marry soldiers in order to collect benefits.This movie, which allowed Kay to be totally unsympathetic yet fascinating, starts in an almost documentary fashion, introducing the "Office of Dependency Benefits" which supported the wives of servicemen. When Peter Martin (Paul Kelly) finds that his good friend has killed himself (due to finding out his new bride already has several husbands) he goes under cover and his search leads him to Sheila Seymour (Francis). She runs a canteen that caters for servicemen in more ways than the obvious. She recruits her "hostesses" from her beauty shop which in turn is a front for a "Allotment Wives" syndicate.One of the hostesses, Gladys Smith (Gertrude Michael) recognises Sheila as an old partner in crime. They had both been petty criminals although Sheila mysteriously escaped reform school and now Gladys is out for revenge and she finds it in Connie. Connie (Teala Loring) is Sheila's secret, a rebellious daughter who she has been shielding in an exclusive girl's school but Connie is only too eager to get involved in the high living and bright lights that Gladys introduces her to. Toward the end the movie swings into action with Sheila showing to what lengths she will go to, to protect her daughter. Guns blaze, bodies fall over beds, even Sheila's right hand man, Whitey (Otto Kruger) takes a bullet to protect Connie who doesn't seem a particularly agreeable girl.Gertrude Michael turned up in many programmers during the thirties, always playing elegant types, so she must have hoped a surprising lead in "The Notorious Sophie Lang" (1934) would push her into the big time. Unfortunately she was disappointed and by the early 1940s she was even clinging on to poverty row programmers but she could always be proud of Sophie Lang.

Dewey1960 There is great cause for celebration among fans of obscure and esoteric films because ALLOTMENT WIVES (1945), a provocative and tremendously fascinating example of poverty row noir finally premieres on Turner Classic Movies on September 26. Produced as part of a three picture deal between star / producer Kay Francis and Monogram Pictures, this peculiar trilogy served as Miss Francis' Hollywood swan song. The other two films, DIVORCE (1945) and WIFE WANTED (1946) are both well-produced, better than average melodramas, but nowhere near as ambitious or entertaining as ALLOTMENT WIVES. What this film might lack in customary Hollywood sophistication it more than makes up for in gnarly pulp energy. Francis plays Sheila Seymour, a sleek and stylish society gal who in reality is the head of a noxious crime syndicate that preys mercilessly on returning World War II servicemen. They zero in on impressionable and lonely vets and before long they're engaged to one of Sheila's "girls." After pocketing the GI's allotment pay, the gals are soon on their way to their next mark, leaving a trail of devastated saps strewn along the post-war landscape. Things become emotionally complicated when Sheila's beautiful young daughter Corrine (Teala Loring) arrives home from her swanky boarding school (she's been oblivious to Mom's business dealings) and slowly begins to unravel the sordid details of her mother's dreadful criminal activities. Also in the cast are the wonderfully creepy Otto Kruger as Francis' odious partner in crime, the equally creepy Paul Kelly as a military investigator and the always menacing Gertrude Michael as one of Francis' old racket rivals who's out for a little revenge. In many ways this film bears more than a passing resemblance to the much tonier and more famous MILDRED PIERCE, released by Warner Bros the same year. But ALLOTMENT WIVES gets the nasty tone of noir's tawdrier aspects better than Michael Curtiz' glossy soap opera. In fact, the crucial showdown scene between mother and daughter at the climax of ALLOTMENT WIVES plays out much more dramatically and, more importantly, realistically than the overwrought scenes between Joan Crawford and Ann Blyth. For those who enjoy their film noir a bit on the exotic side, ALLOTMENT WIVES is must viewing, especially for those with a predisposition for down and dirty, unpretentious poverty row entertainment.