JohnHowardReid Ann Sothern (Maisie Ravier), George Murphy (Skeets Maguire), Robert Sterling (Terry Dolan), Natalie Thompson (Cecelia Reardon), Maxie Rosenbloom (Chotsie), Margaret Moffat (Mrs Dolan), John Indrisano (Peaches), Virginia O'Brien (herself), Eddie Simms (Billy-Boy Duffy), Jack LaRue (Ricky DuPrez), Purnell Pratt (Dr Taylor), May McAvoy (day nurse), Tom Dugan (checker), Jonathan Hale (Dr Kramer), Roy Lester (jitterbug), Oscar O'Shea (conductor), "Rags" Ragland (Vic).Director: EDWIN L. MARIN. Screenplay: Mary C. McCall Jr. Based on the character created by Wilson Collison. Photography: Charles Lawton. Film editor: Fredrick Y. Smith. Music score: David Snell. Supervising art director: Cedric Gibbons. Supervising set decorator: Edwin B. Willis. Costumes: Robert Kalloch. Sound supervisor: Douglas Shearer. Western Electric Sound System. Producer: J. Walter Ruben. Copyright 29 July 1941 by Loew's Inc. A Metro-Goldwyn-Mayer Picture. New York opening at the Capitol (would you believe?): 31 July 1941. U.S. release: 1 August 1941. Australian release: 4 December 1941. 10 reels. 96 minutes. Cut by at least 100 feet in Australia. U.K. and Australian release title: CASH AND CARRY.SYNOPSIS: This time, Maisie, who performs so many good deeds each day that she should be made an honorary Girl Scout for life, is bringing aid and comfort to a forlorn young prize-fighter who wants to quit before he becomes world's champion and his mother finds out where his money is coming from.NOTES: Number 5 of the nine-picture Maisie series. COMMENT: Title changes are often a sure clue that a movie is in trouble. This one posed an additional difficulty for M-G-M's overseas branch offices in that at 96 minutes it ran far too long for a "B" feature.Maisie's fans were mostly women, who were not likely to be attracted to a boxing yarn — despite the presence of some real fighters like Johnny Indrisano and Eddie Simms. For once I sympathize with the studio, for this entry is a dud in all departments, — script, acting, title, and especially direction.Why was the movie re-titled "Cash and Carry"? Well, you see the hero doesn't want to be a boxer. He wants to open a grocery store.

MartinHafer As usual, Maisie Ravier (Ann Sothern) is broke and trying to get to her next job--but has no money. When she sneaks aboard a train, she is caught and deposited in the middle of no where. However, she soon meets up with an exceptionally nice prize fighter, Terry Dolan (Robert Sterling), and he helps her get on her feet. However, his manager (George Murphy) takes an almost instant dislike for Maisie, as he doesn't want any 'dames' distracting Dolan from becoming champion. In fact, they dislike each other so much that you KNOW they'll eventually fall for each other--a common old Hollywood cliché.As for Terry, although he is a great fighter, he is hiding a secret--a secret he eventually confides with Maisie. It seems that every time he goes into the ring, he's scared to death--scared that he'll hurt the other guy and afraid he'll end up punch-drunk after repeated blows to the head. This is a normal and healthy concern, but he wants to give up the fight business--even though he could become champion. Maisie advises him to tell his manager and quit--and this is sure to impact on her new romance with the manager. So what's to come of all this? Well, considering that Maisie was in ten films and this is only the fifth, you can pretty much assume she WON'T be getting married and settling down to a life of domesticity--at least not yet (even though it sure looks that way at the end)!I appreciated this film, as "Ringside Maisie" did NOT glamorize the fight business. Few other contemporary boxing films talked about the ugly side of it--the brain damage, detached retinas, the wear and tear and the fact that promoters and managers really couldn't care less about the boxers. And, the film did a wonderfully touching scene with Terry and one of his opponents, Jackie, at the hospital. Because of this, the film has a lot more depth than you'd expect from a boxing film or an installment of "Maisie". Because of this, it's one of the best films in the series and is well worth seeing--particularly if you have any family members who has aspirations of going into the ring.By the way, I thought it very strange that they billed Terry as a heavyweight, as he looked amazingly small and undeveloped for such a weight class (or to be a boxer at all). I know they had a lot fewer classes back then, but he sure looked like a middleweight to me--not that this seriously hampered the story.

Robert Gold I have seen many of the Maisie films, and this one was another pleasant entry into the series.When I watched the first Maisie film, I felt like I was watching Jean Harlow. I later learned that the Maisie character was intended for Jean; however I enjoyed Ann Sothern's performance as the sassy character.Ann does a great job showing that a woman could handle herself in every situation and always land on her feet. She is smart, sexy, and savvy.I am so grateful to TCM for showing these films, so that I can get the chance to see them for the first time.

Michael Morrison An intelligent script and very likable characters played by superb actors, including especially the adorable Ann Sothern, combine to make this an excellent movie.Even if it's not perfect, it's excellent.Maisie gets a chance to demonstrate her own character, her strength, her determination. One speech to a certain cynic gives us a chance to cheer -- literally cheer -- this gutsy and decent young woman who gets knocked down because she is decent.But, like a champion boxer, she keeps getting up.Hollywood had an unfortunate tendency to cast flabby or, well, let's say "underdeveloped" men as "heavyweight" boxers, such as Stu Irwin or, in this case, Robert Sterling, an otherwise good actor, and a good-looking leading man.But he's no Sylvester Stallone.In this boxing movie, Hollywood didn't make the mistake it did in "Cinderella Man," in which a real-life boxer's character was slimed in order to make a dramatic point.Of course there's conflict, or it wouldn't be drama, but there are no two-dimensional straw-man villains.Instead there are real people, with their own goals and dreams, trying to fit into the real world, trying to get ahead within the context of what seemed possible, and to do it while remaining decent and true to themselves.Ann Sothern just outdid herself in this, a role that gave her a chance to show strength as well as charm.The rest of the cast, from "Slapsie Maxie" Rosenbloom, in one of his best roles, to Margaret Moffatt and John Indrisano, the latter two pretty unknown today, to the great George Murphy, were just super.Honest: You ought to see this one.