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They Call It Sin (1932)

 -  Drama  -  5 November 1932 (USA)
6.3
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Ratings: 6.3/10 from 353 users  
Reviews: 18 user | 9 critic

With time on his hands during a business trip, Jimmy Decker (who's engaged to his boss's daughter) romances small-town church organist Marion Cullen, who follows him to New York only to ... See full summary »

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(based on a novel by), (screen play), 1 more credit »
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Title: They Call It Sin (1932)

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Cast

Complete credited cast:
...
Marion Cullen
George Brent ...
Dr. Travers
Una Merkel ...
Dixie Dare
David Manners ...
Jimmy Decker
Helen Vinson ...
Enid Hollister
...
Ford Humphries
Joseph Cawthorn ...
Mr. Hollister (as Joe Cawthorne)
...
Mrs. Hollister
Elizabeth Patterson ...
Mrs. Cullen
Erville Alderson ...
Mr. Cullen
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Storyline

With time on his hands during a business trip, Jimmy Decker (who's engaged to his boss's daughter) romances small-town church organist Marion Cullen, who follows him to New York only to learn Jimmy's true colors after she's burned her bridges. Marion's looks and talent get her a job with theatrical producer Ford Humphries. Will she succumb to her boss, take up with now-married Jimmy, marry honest suitor Tony Travers...or become a full-fledged gold digger? Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Language:

Release Date:

5 November 1932 (USA)  »

Also Known As:

Amar não é Pecado  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Early in the film, Loretta Young's character refers to herself as "just a farmer's daughter." Fifteen years later, Miss Young won an Oscar for "The Farmer's Daughter." See more »

Quotes

Dr. Tony Travers: [to Jimmy] ... If you're going to insist on being a jackass, I'm going to turn your case over to a veterinary.
See more »

Soundtracks

Rain, Rain, Go Away
(1932) (uncredited)
Music by Johnny Green
First tune played at Ford Humphries' party
See more »

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User Reviews

 
A bare minimum of frippery results in a very effective feature.
12 March 2002 | by (Mountain Mesa, California) – See all my reviews

A startlingly mature teenage Loretta Young stars in this fast-moving melodrama as Marion Cullen, a songwriter who leaves her Kansas home for New York City to shape a career in show business and to follow the man she loves, Jimmy Decker (David Manners), a salesman whose business junket to her home town has tied their hearts together. Decker, however, is betrothed to another (Helen Vinson) and Marion discovers that success in her new profession benefits from a relationship with Ford Humphries (Louis Calhern), an influential producer but a libertine whose demands upon her include more than her ability to craft tuneful pieces for the stage. Decker, now married, continues to harbour his love for Marion, as does his best friend, medical doctor Tony Travers (George Brent) and it remains for the young musician to decide which of the three men she will choose and what sort of position she will prefer for herself, that as mistress, wife, or other woman. Graceful Loretta Young is asked to provide acting skill instead of solely her superb bone structure, and she does so to good result in mosaical scenes, displaying a full range of emotions while making them believable and, of course, is a perfect mannequin for the Orry-Kelly gowns with which she is raimented. David Manners must rely upon more than his profile here, and the stage-trained actor performs creditably, specially so in airy scenes, while silky George Brent and shrewd Louis Calhern execute their roles well; it is Una Merkel as Dixie Dare, Marion's Gotham companion, who nearly steals the show with her rendering of a salty-mouthed, high-stepping chorus girl. The entire production benefits from the extensive cinematic background of director Thornton Freeland who utilizes an interesting assortment of camera angles, is responsible for the crisp cutting and editing and handles his extras with sureness, with only the abrupt final minutes barring the work from achieving a higher aesthetic plane.


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