“I’ll be seein’ you.” — Ben Lyon

“You’ve seen enough of me already.” — Claudette Colbert

Everything about this pre-code film from 1933 is stylish, including a lovely Claudette Colbert and Ben Lyon in one of his best roles. Director James Cruz and photographer Ray June used a lens wipe technique to transition from scene to scene and the harbor is beautifully shot. Based on Max Miller’s book, Wells Root’s screenplay is frank and mature rather than risque, separating this pre-code film from others. It is steeped in reality rather than sensationalism and for that reason remains today one of the best from those first few years of sound films.

A young Claudette Colbert gives a subtle performance as Julie Kirk, the daughter of a salty smuggler along the harbor. There is nothing subtle about her magnetism, however, which lights up the screen. Ben Lyon also shines as newsman Joseph Miller. Bored and after a big story that will get him off the waterfront beat, he decides to romance Julie in order to get to her father, Eli Kirk (Ernest Torrence). Colbert and Lyon are terrific as the flirting begins to feel like something more at the same time the Coast Guard closes in on her dad, and Joseph might get his big story at a price greater than he anticipated.

Cruz films everything that happens between Julie and Joseph, both the serious and the playful, in a natural way. It is both a frank yet quite romantic view of two people feeling each other out, and slowly beginning to love one another. Even the scene on the beach when a naked Julie waits behind a rock for the brash Joseph to return her clothes to her brings a smile rather than a raised eyebrow. A scene where Julie keeps her pop from getting rolled at Mother Morgan’s Boarding House, but feels sorry for the girl and leaves her some money is not there for shock, but to show the heart and character of Julie.

Hobart Cavanaugh lends fine support as Miller’s often drunk news pal McCoy. The famous scene aboard the Santa Madre prison ship where a shakled Julie doesn't put up much of a fuss when Joseph finally gets the kisses he’s been begging for is handled with sexy charm. A fine score which includes the famous title song adds to the special mood of this great pre-code classic. A great one for Colbert fans and fans of pre-code films. ( )