SeeQuant
Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction
Taha Avalos
The best films of this genre always show a path and provide a takeaway for being a better person.
Skyler
Great movie. Not sure what people expected but I found it highly entertaining.
jacobs-greenwood
If you don't count yourself among Lee Tracy's fans (like I do), I'm not sure you'll get a whole lot out of this remake of John Barrymore's State's Attorney (1932) unless you're looking for a pretty good introduction to the 's work.Directed by Christy Cabanne, with a screenplay by G.V. Atwater & Thomas Lennon that was based on the Louis Stevens story "Gentlemen of New York", this average drama is really just a vehicle for Tracy, whose on-screen persona was perfect for carnival barkers, newspaper reporters, and other outspoken individuals such as the (titled) criminal defense lawyer turned district attorney and would-be politician Barry Brandon, the character he plays in this one. Character actor Eduardo Ciannelli plays a stereotypical gangster, Gene Larkin; Margot Grahame plays Barry's love interest Madge Carter while Betty Lawford plays debutante Betty Walker, who wants Barry for herself so much that she uses her wealthy power broker father (Frank Thomas) to advance his career. Erik Rhodes seems out of place as Tony Bandini, the radio singer whose character is used as a plot device.Barry is a mouthpiece for illegal club owner Larkin; he "springs" whatever hoods the gangster wants him to without regard to their innocence or guilt largely by using tricks which distract juries from considering all the facts by focusing on innocuous ones. John Marston (uncredited) plays the prosecuting attorney he beats in one such case. But Larkin isn't entirely happy with his criminal lawyer, whose sense of humor he doesn't always appreciate. Larkin advises Barry to "switch sides" by taking the Assistant D.A. job offered by Walker and District Attorney Hopkins (William Stack), who wants to run for the Senate, in order to gain an inside track on those who would put him away. Initially, Barry doesn't want the position, but ambition gets the best of him and he warns Larkin that he'll now be "against" him. He's emboldened by the love and assistance he receives from a grateful streetwalker, Madge, that he'd rescued from prosecution in night court by appealing to the judge's (Claire McDowell, uncredited) heartstrings & sense of womanhood. He then employs Madge as his cook, putting her up in a vacant apartment in his building and replacing his language challenged houseboy come bartender Mitzu (Otto Hahn, uncredited).As district attorney, Barry makes a name for himself by successfully convicting Nora James (Lita Chevret, uncredited) of murdering her husband; Charles Lane (also uncredited) plays Nora's unsuccessful defense attorney. When Betty and her father come to congratulate Barry after the trial, Madge realizes she's not in the same league. At the celebration party that night, Betty maneuvers an inebriated Barry into her car, drives him to a justice of the peace, and takes advantage of his drunken state to get him to marry her. Naturally upset, Madge plans to leave town and, late one night, goes to Larkin hoping he'll cash her check. This contrived situation sets up Madge witnessing Larkin (with a gun provided by Brooks Benedict, uncredited) killing his gang's rival leader and sets up Barry as his nemesis in yet another trial. Larkin holds Madge until his trial, threatening that he'll kill Barry if she testifies against him. Barry puts Madge on the stand and, knowing she's perjuring herself, let's her go until Larkin laughs at him. This prompts Barry to have a change of heart, and tactics; he forces Madge to admit that she was only protecting him and then admits that he was guilty of jury rigging while employed by Larkin. Having separated with Betty, and effectively giving her to Tony (who's been escorting her throughout), he indicates to Madge that he's free and clear. He finally finishes his "political career ending" speech (e.g. he "falls on his sword") to convict Larkin; he then leaves arm and arm with Madge.
Richard Burin
Following his sacking from MGM in 1934, motormouth comedian Lee Tracy struck a three-picture deal with Columbia, before making a heap of low-budget star vehicles over at RKO. Though the RKO movies vary in quality, they do acknowledge Tracy's standing as a uniquely gifted, fast-talking leading man near the peak of his powers, and are largely tailored to his talents.One such RKO film is Criminal Lawyer (Christy Cabanne, 1937). It's in many ways a standard Tracy film and, as such, an absolute riot. Taking the basic set-up of The Nuisance - Tracy is a shyster whose success in the courtroom is based more on theatrics and tricks than conventional legal practice - the writers also toss in the gangster subplots familiar from Blessed Event and Advice to the Lovelorn. The result is very similar to the William Powell movie Lawyer Man, though bizarrely that 1932 film chose not to show any of the courtroom sequences to which it frequently referred.The plot here has Tracy's barrister-come-showman becoming DA and trying to shake off his nefarious former sponsor. Hilariously, the tagline of the film gives away its entire storyline. What does the poster think it is - Halliwell's? Without telling you exactly what happens, I'll just say that as Tracy spars with hateful hood Eduardo Ciannelli, a woman (Margot Grahame) enters the picture, becoming Tracy's cook, secretary and confidante. That makes his sometime girlfriend (Betty Lawford) very jealous, setting up a slightly melodramatic final third that isn't as strong as the rest of the picture.Erik Rhodes provides plenty of comic support playing his patented amorous Italian (as seen in The Gay Divorcée, Top Hat and The Smartest Girl in the World), but as usual it's Tracy's show. Just seeing him on screen makes me happy, since he's never tired, or lacklustre, or sub-par. He's always just magnificently, spectacularly Tracy-ish. When the script is sharp, he's impossibly good, but he also elevates so-so sequences. His interrogation of a woman accused of murder recalls his pyrotechnics in Blessed Event, talking Allen Jenkins through a trip to the electric chair, and he imbues the climactic scene with an improbable credibility as well as a compulsive watchability. My 21st Tracy film is flawed, certainly, but yet another must for fans of the actor.
Michael O'Keefe
An ambitious, dynamic district attorney(Lee Tracy) is called upon to prosecute the mob boss(Eduardo Ciannelli)responsible for his lofty appointment. Most of the courtroom scenes are hard hitting and emotionally draining, other wise the story line is quite hackneyed and obvious. Other cast members of note are:Betty Lawford, Margot Grahame and Frank M. Thomas.Not exactly film-noir and truthfully a subpar crime flick.
Eric Chapman
What a shame that the great Lee Tracy was toiling in low rent pictures like this when he should've been a big star in his very prime at this stage in his career. There are glimpses of his motor-mouthed talent in the courtroom scenes and there is some electricity in his terse, mutually contemptuous confrontations with tight-lipped mob boss Eduardo Ciannelli, but the script is subpar and the editing (particularly during the climax) is downright dreadful. The film has no grab or soul and Tracy's moral reversal rings terribly false.
