Chicago's underworld operates under an uneasy truce, with “Shep” (Cesar Romero) controlling one territory and "Pretty Willie" (Sheldon Leonard) another. This fragile stability is threatened when “Shep” meets “Judy” (Virginia Gilmore), and to ensure she stays close, he hires her as a nanny. But a nanny for whom? Since he has no children, they bring in the defiant young “Harry” (Stanley Clements), who goes along with the charade unaware of his supposed father's true identity. "Willie" also becomes infatuated with Judy, but during their brief interactions, he uncovers something quite important about “Shep.” This revelation has the potential to disrupt the power dynamic—but what options does “Shep” have? It’s a diverting comedy-drama overall, though it suffers from noticeable plot inconsistencies. The story isn't entirely predictable and includes several (unbelievable) turns as events progress toward an ending that delivers a sense of justice for everyone involved. Romero brings his characteristic charisma to the role, but Gilmore doesn't leave much of an impression. More memorable are Milton Berle’s “Frosty,” Shep’s drinking-inclined right-hand man, and Clements, whose attitude and mobster dialogue clearly draw inspiration from Jimmy Cagney. The film is perfectly watchable with a reasonably strong narrative at its core, but it feels too carelessly constructed, and I'm unlikely to recall it for long.

Source on TMDB