A.K.A., Call it Murder. Humphrey Bogart had only a bit part in this film.

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(as Chester Erskin)

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(play), (play)
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Cast

Complete credited cast:
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...
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...
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Joe Biggers (as Lynn Overman)
Katherine Wilson ...
Richard Whorf ...
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Moffat Johnston ...
Dist. Atty. Plunkett (as Moffat Johnson)
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Ingersoll (as Henry O'Neil)
Helen Flint ...
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Storyline

A.K.A., Call it Murder. Humphrey Bogart had only a bit part in this film.

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Details

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Release Date:

7 March 1934 (USA)  »

Also Known As:

Call It Murder  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Wide Range Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Film debut of Richard Whorf. See more »

Quotes

[first lines]
Ethel Saxon: You see, I loved him. I mean I loved him when... when he didn't love me anymore, day in and day out watching him get further and further away from me. I could see in his eyes when he looked at me... I could see he hated me, hated me because I needed him. Oh, I was so frightened, so mixed up. It's so horrible to see someone who's become part of you slipping away, slowly. To feel helpless and empty, lonely and frantic, wanting to do something, anything, anything to bring him back! To...
[...]
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Soundtracks

Nola
(uncredited)
Music by Felix Arndt
Played on the radio as Nolan is demonstrating the set to Joe.
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User Reviews

 
Morality Tale, Or Noir?
12 December 2005 | by (New York) – See all my reviews

One must judge this movie along-side its contemporaries. It is an outstanding example of the numerous "women with law problems" pictures of the Thirties. It avoids the sentimentality and masochistic suffering that the female lead predictably, and monotonously undergoes. Instead of a simple morality tale, with the focus on a single character's torment, we are presented with one of the earliest examples of Noir that I know, complete with dark despair, pessimism, and cynicism. The Law, in-laws, ambitious DAs, insensitive fourflushers and amoral bourgeois relatives, and an ambiguously moral reporter all serve to subvert the movie's latent sentimentality and cause us to question our moral bearings. Bogart is excellent in his brief role, but it is ridiculous to judge this movie by his screen time. All the acting is excellent (save Ms. Fox?) and the casting superb. The direction is inventive, especially considering the confining main set, with many startling close-ups, camera angles, and tableaux. Consider this movie in terms of the original "Chicago" (the play, 1927), its remake as the movie Roxie Hart (W. Wellman, 1942) and "Chicago," 2002. You'll see it has a lot to add to this theme, and is worthy of consideration in its own right.


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