“Skid” (Hal Shelly) is a journeyman Vaudeville performer who meets dancer “Bonny” (Nancy Carroll) on the circuit and they fall in love. They marry and make a go of things on the road until he gets spotted and next thing he’s on Broadway whilst she keeps up with the daily grind. He proves to be a bit of an hit, and pretty quickly is reunited with ex-gal “Sylvia” (Dorothy Revier) who is soon sharing more than just the billing. When “Bonny” finds out she decides that two can play at that game, especially as she is being courted by a wealthy cattleman (Ralph Theodore). Despite his own ghastly behaviour, “Skid” can’t bear the thought that she could be with someone else, and so takes rather heavily to the bottle. That slippery slope sees him fall from grace, and it seems his only hope is that “Bonny” might actually forgive him - but why should she? Will she? Fans of song and dance cinema will enjoy this, even though the embryonic production and some distinctly ropey choreography do leave them looking a bit rough round the edges. That said, though, there are still some good numbers here, like “True Blue Lou” to compensate for the well travelled rags to riches story that isn’t so hot on the jeopardy front but it does shine a light on the fickleness of fame. This also has the benefit of quite seamlessly marrying the theatrical with the cinematic quite effectively, and though at times that doesn’t always come off, the efforts from Shelly, Carroll and from Revier showcase just how multi-talented people had to be in the 1920s if they had any hope of making a living in this cutthroat business whilst still delivers plausible - if not always so likeable, characters. It is a bit routine, sure, but it has a watchable freshness and vitality to it, too.