Plot
Police friend Lieutenant Riggs (Harold Huber) takes detective Mr. Moto and son Lee Chan (Keye Luke) to see a prizefight between Bill Steele (Dick Baldwin) and Frank Stanton (Russ Clark), where the winner will get a chance at the champion, Biff Moran (Ward Bond). However, the fight is fixed and gangster Nick Crowder (Douglas Fowley) bets big money that Stanton won't make it to the fifth round. He goes down in the fourth and dies shortly afterward.
Bookie Clipper McCoy (Bernard Nedell) loses a fortune. Mr. Moto proves that it was murder and it is revealed that another $100,000 has been won in bets around the country against Stanton. Mr. Moto works with Lt. Riggs to solve the murder as the championship fight looms.
Comedy is provided by Wellington (Maxie Rosenbloom), a kleptomaniac, and Lee Chan. Love interest comes from (Lynn Bari) (who really loves Steele) and (Jayne Regan) (who only loves winners). Mr. Moto has promised to reveal who the murderer is on the night of the big fight, but the murderer has plans, too, with a hidden gun set up to kill Mr Moto.
The film also features (John Hamilton) as Philip Benton.
Read more about this topic: Mr. Moto's Gamble
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)