6.7/10
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14 user 8 critic

Lawyer Man (1932)

TV-G | | Drama, Romance | 7 January 1933 (USA)
Idealistic attorney Anton Adam makes headlines when he successfully prosecutes a prominent New York racketeer named Gilmurry. Adam's sudden renown attracts the attention of high-profile ... See full summary »

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(screen play), (screen play) | 1 more credit »
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Cast

Complete credited cast:
...
Anton (Tony) Adam
...
Olga Michaels
...
John Gilmurry
...
Barbara Bentley
...
Virginia St. Johns
...
Granville Bentley
...
Izzy Levine
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Storyline

Idealistic attorney Anton Adam makes headlines when he successfully prosecutes a prominent New York racketeer named Gilmurry. Adam's sudden renown attracts the attention of high-profile legal eagle Granville Bentley, who asks Adam to become a partner in his law firm. But Adam's rising career takes a nosedive when he's framed by Gilmurry and a sexy actress in a trumped-up breach of promise suit. The only constant in Adam's life is the loyalty and unrequited love of his secretary Olga. Written by Daniel Bubbeo

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

TV-G | See all certifications »
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Details

Country:

Language:

Release Date:

7 January 1933 (USA)  »

Also Known As:

Hombre de leyes  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

| (Turner library print)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

At approx. minute :38, a young boy is crying and led out of the courtroom by his mother. The young, uncredited actor is Bobs Watson (PeeWee of Boys Town fame. See more »

Goofs

Gilmurry is on the phone in his office. As he hangs up he looks toward the door and has a surprised look on his face. In the next scene, the door is just opening and Adam walks into the office. See more »


Soundtracks

Let's Put Out the Lights (and Go to Sleep)
(1932) (uncredited)
Music by Herman Hupfeld
Played when Tony emerges from the phone booth after making his call
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User Reviews

B picture with A players
29 May 2003 | by See all my reviews

Despite two very winning star players, this picture is all surface: a trite story with no depth of characterization whatsoever, constructed of an unusually large number of very brief scenes which move the plot along but are not sufficiently developed to generate any feeling for the characters. The potential "meat" of the story concerns a presumed crisis of conscience for William Powell as a very capable but too ambitious attorney, along with his relationship with radiant Joan Blondell as the secretary/Girl Friday he takes for granted. Lots of potential here, all of it sacrificed to keep the plot moving.


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