This movie opens in 1905, when showgirl and daughter of a deceased gambler Peggy Martin falls in love with Monte Van Tyle and breaks the news to lover Fiske that she is leaving him. She and... See full summary »
In prohibition-era Manhattan, shopkeeper Mary Brown loses Aubrey, her childhood sweetheart, when he marries a rich woman. Reporter Steve "Rollo" Porter has lost -his- childhood sweetheart, ... See full summary »
Richard Grant is a lawyer who believes that murder under certain circumstances is justifiable. Richard's daughter, Barbara, takes her dad to a dinner party hosted by Richard's old friend, wealthy playboy, Gordon Rich. Gordon tells Richard that he and Barbara plan to marry. Richard threatens Gordon's life if he marries Barbara. Richard is unaware that Barbara has no plans to marry Gordon, and she's in love with Tommy Osgood. Richard enraged of the thought of Barbara marrying Gordon goes into Gordon's room, undetected, and kills him...Has Richard committed the perfect crime?Written by
This film was first telecast in New Haven CT Monday 4 March 1957 on WNHC (Channel 8), in Altoona PA 26 March 1957 on WFBG (Channel 10), in Honolulu 8 July 1957 on KHVH (Channel 13), in Minneapolis 31 August 1957 on KMGM (Channel 9), in Norfolk VA 5 September 1957 on WTAR (Channel 3), in Philadelphia 3 April 1958 on WFIL (Channel 6), in Kalamazoo 3 May 1958 on WKZO (Channel 3), in Cincinnati 10 June 1958 on WLW-T (Channel 5), in Chicago 4 August 1958 on WBBM (Channel 2), in New York City 15 September 1958 on WCBS (Channel 2), in Phoenix 13 October 1958 on KPHO (Channel 5), in Memphis 28 November 1958 on WHBQ (Channel 13), and in Tampa 3 December 1958 on WFLA (Channel 8). Pre-code situations, some surprisingly dynamite dialogue, and a bizarre twist to the plot have since endeared it to vintage film enthusiasts and it's still occasionally dusted off on cable TV on Turner Classic Movies. See more »
Although Forrester Harvey is credited onscreen as Spencer Wilson, it is Charles Crockett's character who is referred to as "Mr. Wilson" at one point. Harvey's character name is never spoken in the movie. See more »
Believe Me If All Those Endearing Young Charms
Played by Kay Francis on harp and Charles Crockett on bass violin See more »
An inside-out murder mystery, one in which you know who dunnit and watch only to see if he can get away with it, "Guilty Hands" gets right down to business, as it has to - this isn't the kind of material that can take much stretching. It's already a bit of a stretch. But in a good way.
At just over an hour, the film is essentially a programmer, never meant to be the main attraction of a night's entertainment. Exhibitors would pair it with a bigger picture, and add a couple of specialty shorts, choosing from among the available cartoons, song plugs, and travelogs. A night at the movies ca. 1931 set the pattern for a night around the TV-set in later decades. On that analogy, "Guilty Hands" is like a middling-to-better episode of Alfred Hitchcock Presents; it even sports an opening hook worthy of that show: a voice in the dark, talking of crime, says that a really clever fellow might commit a perfectly undetectable murder - and that under some circumstances, murder might be justified.
The dark room turns out to be the smoking lounge of a train passing through a long tunnel, and soon after we come into the light the speaker, a lawyer who has in his varied career both prosecuted and defended murderers, finds himself in a tight spot that practically invites him to put his theory into practice. Lionel Barrymore, as the lawyer, leads a cast who do nothing short of a good professional job of putting across the high and low mischief that ensues. Barrymore's target, a rich rotter played by Alan Mowbray, is so dried out with debauchery that it comes as a surprise how much fight he has in him when he knows he's a marked man - cussedness seems to get his juices flowing. Soulful-eyed Kay Francis, as Mowbray's lover and (she hopes) Barrymore's nemesis, moves with the right mixture of languor and ardor - her character is half vamp, half noble sufferer - but she's been directed in one scene into some hambone-pantomime attitudes of terror, a style of acting that was already terribly old-fashioned in 1931. She does it expertly, and she's so beautiful we'd want to go on watching her anyway; still, the fustian is unfortunate. Less lucky in their roles are Madge Evans, as Barrymore's daughter, and the lad who plays her ideal young suitor: both characters are so bland the actors can do nothing with them but say their lines and try not to look too foolish. They manage it, and the film doesn't linger over them.
Not lingering is the movie's best tactic for wriggling past its occasional weaknesses, especially the implausible motivation of that daughter character - she is possibly a watered down version of whatever the writer originally intended. The brisk pace comes from the makers' showbiz savvy; and if there was watering down, it was likely caution based on the same kind of wisdom about "what the traffic will bear." Those pre-code movies were seldom as daring as they're now cracked up to be; they were bent on entertaining, and a little bit of salaciousness could stir the plot - but they tried not to leave a bad taste in anyone's mouth.
Come now, what masques, what dances shall we have, to wear away this long age of three hours between our after-supper and bed-time? "Guilty Hands," plus a couple of shorts - and another, better movie, thanks.
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