The Glass Key (1935)

Director:

Frank Tuttle

Writers:

Dashiell Hammett (novel)
Kathryn Scola (screenplay) ...

Release Date:

15 June 1935 (USA)

Genre:

Mystery | Crime | Drama | Film-Noir

Tagline:

The Kid Glove with Iron Fists! (original poster)

Plot:

Ed Beaumont is the personal friend, advisor and bodyguard to Paul Madvig, the political boss of a large city...

Plot Keywords:

Friend | Enemy | Bodyguard | Murder | Killer

Cast

George Raft	...	Ed Beaumont
Edward Arnold	...	Paul Madvig
Claire Dodd	...	Janet Henry
Rosalind Keith	...	Opal Madvig (as Rosalind Culli)
Charles Richman	...	Senator John T. Henry
Robert Gleckler	...	Shad O'Rory
Guinn 'Big Boy' Williams	...	Jeff (as Guinn Williams)
Ray Milland	...	Taylor Henry
Tammany Young	...	Clarkie
Harry Tyler	...	Henry Sloss
Charles C. Wilson	...	District Attorney Edward J. Farr
Emma Dunn	...	Mom
Matt McHugh	...	Puggy
Pat Moriarity	...	Mulrooney
Mack Gray	...	Duke

Runtime:

80 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

USA:Approved | USA:Passed (National Board of Review)

Company:

Paramount Pictures

Trivia:

One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since.

Quotes:

Shad O'Rory: You haven't answered my question.
Ned Beaumont: You haven't made your proposition.

Movie Connections:

Version of The Glass Key (1942)

Neglected pioneer noir.

In the unlikely event that the term "film noir" means anything, it must be the meeting of the US detective film and the sinister Germanic look.

The process can be seen well and truly evident in this rarely seen version of the Hammet story. This one has the down beat view of human nature, sinister nocturnal scenes, notably Raft's discovery of Ray Milland's body and the grim shadowed world of thug Williams in his best rôle.

Neglected in favour of the Alan Ladd version which borrows from it - disposing of the stroppy brother with a kick on the shins, the dog attack - this one plays better because it's easier to believe Arnold is running a city and for director Tuttle's use of comedy actors like Irving Bacon, in serious material. Raft as Ned Beaumont, the minder, fits right in here.

Notice the significant difference is the presence of the mother character in the space that the fiancée takes in the later film. The spectacular auto stunt opening gets things moving rapidly too. This one doesn't work up the intensity of the best of the forties thrillers - no erotic smolder and feelings of growing doom but it's still a good viewing that stands with the best crime films of its day.