Hellen I like the storyline of this show,it attract me so much

BroadcastChic Excellent, a Must See

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

JohnHowardReid Copyright 17 October 1934 by RKO Radio Pictures, Inc. No recorded New York opening. Australian release: 20 February 1935. 7 reels. 67 minutes.SYNOPSIS: A publisher's wastrel brother commits suicide. Why? Are the publisher's wife and his associates involved?NOTES: The highly acclaimed Priestley play opened in the West End at the Lyric on 17 May 1932, running a most satisfactory 151 performances. Not unexpectedly, the play did even better on Broadway - at this time, British shows were all the rage on the New York stage, often to the exclusion of native talent - opening at the Empire on 27 October 1932 for a set engagement of 210 performances. When the lease on the Empire expired, the play was still drawing such huge crowds, it was moved to the Waldorf, where it ran a further 93 performances. Naturally, such a huge success was eagerly snapped up by Hollywood, but by the time the film appeared, interest in the play had lapsed to such an extent that RKO was unable to secure a New York showcase, despite the film's top-drawer cast of popular players. COMMENT: I've always thought J.B. Priestley an over-rated writer. Mind you, he was admired - adulated even - by press and public in his day. Early in his career, he hit upon the device of playing around with Time. Everyone praised this little stratagem as a masterstroke of genius. What do you think?In Dangerous Corner, the action hinges on a valve. One of those gadgets like an elongated electric light globe that formerly powered radios. When one of these valves "blew", it was necessary to replace it, or the wireless wouldn't work. So what Priestley presents is two stories. In the first, he tells what happened to our merry group of partying characters when the radio was silenced and they were forced to sit around and tell a few home truths to each other concerning their relationship and dealings with a former partner of their publishing firm who committed suicide. In the second version of the same story, a replacement valve is available, the radio sparks back into life and the actors are silenced. The party continues...I'm afraid that, despite this novelty, it's all rather dull stuff of the talky, talky, talky kind. Your turn, Melvyn. Now it's your turn, Virginia. And now it's your cue, Betty, for your big dramatic revelation of the evening. Ho-hum.Beyond two prologue scenes, the adapters have done nothing to open out the play. Worse, Poverty Row director Phil Rosen, here making his first of three pictures for RKO, has handled the wearisome proceedings in a thoroughly pedestrian manner.True, the players do try their hardest to overcome both the heaviness of their dialogue and the disinterest of their director. Doris Lloyd succeeds best. But then she has by far the most colorful role. Melvyn Douglas is charmingly gallant, while Virginia Bruce - despite odd make-up, presumably designed to make her look older - and Betty Furness furnish "soul".

paulbpage Largely of interest only as a historical piece, a document of movies made from the factory mill of drawing room stage plays of the period. It's part domestic drama, part detective movie, with supposedly sophisticated repartee with drinks, mild references to sex, affairs, marriage and relationships, with some high-minded talk about truth and - perhaps self-referentially - plot devices holding it all together. Except for a few slight flourishes, it's little more than a filmed play, with full shots interspersed with a few two- and three-shots. That said, the performances are expertly delivered, with Melvyn Douglas particularly good and charismatic as the single-man charmer who is after the leading lady, well played by Virginia Bruce. It goes down fairly easily, and the 'smart' lines, many expertly delivered as slight aphorisms by Doris Lloyd - playing a writer and so a kind of bemused commentator and proxy for the author on the unfolding drama. It was clearly meant as not much more than a diversion at the time, with production and performances a pale echo of better pictures or the era.

Baxter de Wahl It's amazing how different 1934 looks to us now, on the evidence of this movie. An ensemble cast of no more than eight, all with speaking parts and none of them filmed anywhere but the standard three sets. Camera angles are static and rigid, only the occasional pan out when confessions are being made and these are legion. Clearly this script could not have been filmed without the invention of cigarettes - they are central to almost every scene and crucial to the turn of the plot itself.The plot is strong and rather typical of J B Priestly in that much of the drama consists of revelations and contradictions. No-one is quite what they seem!

sobaok This film is full of surprises, twists and turns. The whodunit theme has the added plus of making the viewer think about big issues like, "what is truth?" The Dangerous Corner is taken when the main characters "spill their guts out" -- telling secrets and hidden feelings that lead only to conflict, hurt and despair. The film supports the theory, "Let Sleeping Dogs Lie" -- purporting that the mind can only come up with meager "small truths". The mystery is eventually solved in this innovative, intriguing film. Wonderful Virginia Bruce is on hand to admire, along with dapper Melvyn Douglas, Conrad Nagel and hammy Ian Keith. I've watched this film many times and had great conversations with friends afterwards. Unusual!