Onlinewsma Absolutely Brilliant!

Comwayon A Disappointing Continuation

Maidexpl Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

kidboots While Joan Bennett may have played the title role (Richard Watts Jr. called her a "pretty if unexciting heroine") there were so many stars determined to have their moment in the sun that Joan was almost left behind - but not quite!! You know it's a pre-code with wisecracks like - "I thought my sugar daddy was going to take me to Paris - well he did want to show me where he was wounded in the war and no it wasn't there!!"Apart from the establishing shot of hot shot lawyer John Sullivan eagerly running from the ship to renew his friendship with the beautiful Vivienne only to find she is engaged to seedy ladies man Damon Fenwick (Jameson Thomas), this fast paced movie takes place in the court room. Court room dramas were still a staple of the early 1930s and both Alan Dinehart and Don Cook were given the roles of a lifetime. Dinehart was the prosecutor who made mincemeat of the witnesses with his penetrating questions, and if you've only seen Cook as a moody love interest, he proves he has energy and personality as he outdoes Perry Mason with his "I object on the grounds that it is incompetent, irrelevant and immaterial"!!etc. And where would a movie trial be without snappy radio commentary - Skeets Gallagher delivers the sensation while Zasu Pitts offers a woman's angle, describing Vivienne's hats, gowns and make-up - in fact Pitts gets an exclusive interview with the condemned girl but she doesn't give Vivienne a chance to talk - it's all about Gladys (Pitts) and her Virginian childhood!! She does come up trumps when describing Vivienne's fetching ensemble!! The film really belongs to Lilian Bond and she sparkles as Dolores Devine, the other woman!! She is sassy, sexy and hysterical by turns. Dolores was the woman Damon couldn't give up, the one (in a very pre-code scene) whom Vivienne found lounging in a pair of barely there pajamas, at Damon's apartment early one morning!!Suddenly there is a sensational development - Skeets comments on "a woman scorned" and stand by for the reading of a sensational love letter!! It's almost as though Fox scoured Hollywood in it's effort to find so many wonderful character actors and then given them each a role they would be proud to have on their resumes!! Apart from those mentioned, there is Herbert Mundin, Maude Eburne, Noel Madison, Edwin Maxwell, Ethel Wales and Dale Fuller!!Highly Recommended!!

mark.waltz Veteran actress Joan Bennett had more looks than Lon Chaney, going from cute blonde to brunette femme fatale and finally to gracious matriarch. This early film of her long career is her best of the blonde bombshell era, a tight and fast moving pre-code courtroom drama where Joan is on trial for her life, having been accused of murdering a slick playboy. Another ex, Donald Cook, defends her, as her trial is covered on the radio by fast talking Skeets Gallagher and manipulative sob sister Zasu Pitts. With the deck stashed against her, it doesn't look good, creating a tense drama that flies by in under an hour. This is a must for pre-code aficionados and never lets up. Bennett was nothing special in her early films, but this one is an exception. Pitts gives an award worthy supporting performance, quite different than many of her other films.

GManfred This was shown at MOMA, New York City, 11/15, on a restored print. The print was gorgeous, probably as good as you can restore a print of a movie almost 85 years old. Had never seen it before and thought it must have value as a milestone of some sort in filmmaking. After all, the Museum of Modern Art is pretty fast company.Alas, it's just an old picture that breaks no new ground and struck me as dated, and the only strong point was the vintage cast and the atavistic feel of a creaky oldtime movie. As the title states, it's about the murder trial of a woman who we know from the start is innocent. We also suspect the identity of the murderer and the predictable outcome. Along the way, we get a fascinating look at the media attention the trial attracts, as a radio station sets up a temporary studio in a room adjacent to the courtroom. Here we find 'Skeets' Gallagher and Zasu Pitts as trial reporters and serving as comic relief as well. Everyone dressed to the nines, as was evidently the custom in the 30's, and for those of us too young to know or remember, the two opposing lawyers haranguing the witnesses in loud, penetrating voices. It was fun to watch some of the old-time character actors, and especially to see Joan Bennett as a platinum blonde. Donald Cook was the love interest, and with his customary dour expression. Also on hand were Alan Dinehart, Maude Eburne and Noel Madison who were recognizable to 30's audiences but forgotten today. In sum, I would rather have watched it on TV as the trip to NYC wasn't worth it.

boblipton William K. Howard was given the task of turning a popular radio serial into a movie, and succeeded. A carefully-written script that actually paid attention to the way cases are tried was the first step. Some great support, particularly Skeets Gallegher and the always fascinating Zasu Pitts helps. A restless camera helps keep up speed, and some interesting sets -- particularly the nightclub set -- make this a fine movie, even if the leads, who became lovers more than twenty years later, had no memory of working together on this one.I wish to call your attention, if you ever have the chance to see this movie -- it is very rare and the one print I saw was a 16 mm. print, blurry as you would expect -- to the swish cuts. A swish cut is when the camera starts to pan away, then the illusion of high speed movement starts and when the camera slows down it is panning into a new shot -- maybe a quarter second elapses. It adds tremendous excitement to a sequence and Howard uses a lot of them here.Unhappily, a lot of editing techniques for shot changes were on their ways out. By about 1935, Hollywood had settled on the now-standard techniques, except for a few movies which attempt to evoke the older movies. A loss to film grammar, but what can we do about it now, except to enjoy these techniques when we see them?May 20 2010: I just noticed a modern use of the swish cut: any Doctor Who fan out there should take a look at Season 5 Episode 4 for the use of one, four minutes into the proceedings.