The Whole Town's Talking (1935) User Reviews (49)

Mr. Winkle Meets Little Caesar

[bkoganbing · 6/10 · 2 January 2007]

I don't think there's anyone who's ever seen The Whole Town's Talking and doesn't believe this was a film intended for Frank Capra. The mere fact that the screenplay was co-written by Robert Riskin who won an Oscar together with Capra for It Happened One Night the year before should give ample indication. If Capra had a choice between this and Broadway Bill he chose wrong.

Although this kind of comedy is not usually what is found in John Ford films, Ford does OK by it. I don't think he ever directed again anything that could be remotely classified as screwball comedy.

Edward G. Robinson who would make his second and last appearance in a Ford film 34 years later in Cheyenne Autumn, plays a dual role. He plays Killer Mannion in the tradition he established as Little Caesar and also A.L. Jones a meek, mild mannered clerk a type Robinson would play later in Mr. Winkle Goes to War.

Mannion's escaped from prison and there's a manhunt on for him, similar to the kind that was on for John Dillinger a year earlier. The police will simply shoot to kill. Bad luck for a guy that looks like Mannion and worse luck when Mannion finds out about his doppleganger and tries to make use of him.

Robinson is fine in his dual performance, but the film was a milestone for Jean Arthur who plays Robinson's fellow employee and despite his being a milquetoast, she sees something in him. Up to this point Arthur had played a lot of ingénues and loyal wives to leading men. This is her first role in a screwball type comedy that she became known for, in fact what she's remembered for mostly. Of course a year later, Harry Cohn did team her with Frank Capra and they certainly made some cinematic history.

My favorite two supporting parts are Etienne Girardot as Robinson's officious little office manager and Donald Meek another milquetoast who originally mistakenly turns in the clerk as the gangster and stays on the 'case.'

Though he's not in his element John Ford serves a nice piece of entertainment.

One Striking Robinson Moment of Real Anguish In A Comedy

[dmh7-1 · 8/10 · 5 January 2007]

This movie is (correctly enough) billed as a "crime comedy" but that tone is not entirely maintained throughout the film, and to good effect. For one thing, Robinson (as "Jonesy") emanates a very palpable feeling of repression and yearning for a more romantic existence throughout the film, and this is underscored by his poetic ambitions, and the fact he named his cat "Abelard" for just two examples.

But the most powerfully emotional scene in the film - and the one which most breaks the comedy constriction - is when Mannion is finally gunned down by his own men, entirely at "Jonesy's" direction. It is not a moment which is let off with comedic ease, and this is marvelously portrayed in a fleeting closeup of Robinson (as "Jonesy") as the gangs carts Mannion off to another room - the camera cuts away to a shot of "Jonesy's" face, and what one sees there (underscored by an anguished bark) is a true second of real anguish and guilt over what he has just be responsible for. Although Mannion was a murderer (and this "crime" of "Jonesy's" is partly in response to his discovering Mannion was trying to gt him killed), the murder is not tossed off without emotional undertones of true anxiety. It is a great sequence, possibly entirely a matter of Robinson's skill and feel for the character.

The comedic moments go down easy, Jean Arthur is at her tough girl best, and the film abounds with the "usual suspects" of Hollywood character actors. It is well worth viewing as a light farce. But - for this viewer - that one quick brush with actual internal pain somehow puts the rest of the film in a briefly glimpsed and different universe of real human morality. If for no other reason, (and there are many) that one tiny moment makes this film highly recommendable.

Edward G. Robinson in what amounts to four different roles

[AlsExGal · 8/10 · 27 March 2010]

Here Robinson plays the role of a mild-mannered bookkeeper, that of a body double in the person of a murderous gangster on the run - Killer Mannion, and he also effectively plays two other roles - that of the bookkeeper pretending to be the gangster, and the gangster pretending to be the bookkeeper. This could get very confusing, especially in the case of the latter two roles, but as the viewer you will be pretty sure you know who you're looking at by the circumstances. However, you'll still be bowled over by the subtlety of Robinson's performance - I know I was.

Jean Arthur plays Jones' (Robinson's) would-be girlfriend. She works in the same place as Jones, but longs for more than a hum-drum existence. When Jones tells her his hopes and dreams of being a writer and traveling to exotic places, she encourages him, and seems to see what he could be even if Jones doesn't quite see it yet. Arthur has what amounts to one of the funniest scenes in the movie, and there are many candidates. When the police first pick up and arrest Jones, believing him to be Mannion, they pick up Arthur too, thinking that she is his "gun moll". She has some fun with this and starts using gangster slang and mannerisms and confessing that Mannion committed every crime that the police ask her about.

One of my favorite supporting players of the 30's shows up here too - Ed Brophy, who was an assistant director over at MGM until Buster Keaton put him into a small but important role in "The Cameraman" in 1928. Once sound came in Brophy was perfect for playing supporting Runyonesque parts. Here Brophy plays an associate of Killer Mannion who is picked up by the police and makes a deal, promising to put the finger on Mannion. In return the police have to keep him safe in jail until Mannion is picked up. Brophy's character is brave whenever he thinks Manion has been captured and a blubbering coward whenever he realizes Mannion is still free.

Highly recommended as a great screwball comedy that shows the versatility of not only Edward G. Robinson, but of director John Ford.

Cute Screwball John Ford Comedy

[timmauk · 31 July 2001]

John Ford directs a screwball comedy?? He does and quite well I may say. This is a story of a meek mild manner clerk named Ferguson(Robinson) who always gets stepped on and used. One day he is mistaken for "Killer Mannion". Mannion is a mean ruthless gangster who cares for no one. Ferguson is a sweet kind man who cares for beautiful Wilhelmina(played by Jean Arthur). Thanks to a police screwup, Mannion knows about Ferguson and is out to use him.

The script is cute and funny. It's also good in setting up the situation and the development of characters. It is not one of the best comedy ever made, but it is still very entertaining. The cast is first rate. Edward G does a terrific job at playing both the good AND the bad guy. Jean Arthur is funny as Eddie's wise cracking co-worker(check her out playing the "gangster moll"!) The other supporting characters are good too. The special effects showing both Robinsons on screen is quite good for it being 1935.

If you get a chance to see it, please do. It is a very cute film.

a John Ford comedy - and how often do you hear that phrase?

[blanche-2 · 6/10 · 26 June 2013]

Edward G. Robinson stars in "The Whole Town's Talking" along with Jean Arthur, Wallace Ford, and Donald Meek.

Edward G. Robinson was such a wonderful actor, a little guy with a towering talent. Here he has a dual role - that of an escaped criminal, Mad Dog Mannion and that of Arthur Jones, clerical worker, a shy man with a crush on a coworker (Arthur). When Mannion escapes from prison, his face is on the front page, and he looks so much like Jones that someone who sees him in a restaurant turns him into the police. When fingerprint ID verifies that he is not Mannion, he's given a letter by the police chief stating that he's not Mannion and should be left alone and even gets a job writing for the local newspaper about his experiences being mistaken for Mannion.

Unfortunately for poor Arthur, Mannion shows up and wants to use the pass, which he does, raising complete havoc. He also starts giving Arthur info for the news stories - and the police wonder how it is Arthur knows so much.

One of the funniest parts of the film for me was the newspaper description of Mannion - a cruel mouth, a Neandrathal face, etc., and poor Jones looking at himself in the restaurant mirror trying to look evil.

Robinson is fabulous - so sweet, so gentle, such a hard worker as Arthur and a ruthless killer as Mannion. Jean Arthur, as the outspoken Miss Clark is great - when she's questioned by the police, they assume she's Mannion's accomplice, so they keep asking her questions - who did this, who robbed that, and she keeps saying, using a tough, gun moll voice, "MANNION!" Then they find out it's not Mannion they caught after all.

I thought the movie went on just a tad too long, but otherwise, it was quite good, with fun performances, well directed by a man known for his westerns and bigger films, John Ford.

The perfect comedy – a sheer delight!

[manuel-pestalozzi · 10/10 · 9 November 2005]

I saw this movie a long time ago as a teenager during a Edward G. Robinson retrospective. It was the one that stuck in my mind, and I never forgot it. Now I have it on videotape and watch it regularly, it stands multiple viewing very well.

The Whole Town's Talking is one of those perfect little movies. Everything falls into place – the acting, the pace, the timing of the jokes, the dialog. Even the set design is fabulous, it was basically the big, bright office space in which the good guy Robinson plays „slaves" that was unforgettable to me. The movie boasts an assortment of caricature like characters like no other movie I know, beside Robinson I would like to mention Jean Arthur, of course, and the two funny little guys, Donald Meek and, even more memorable, Etienne Girardot as the pedantic office overseer who urges Robinson to get on with the Macintyre account.

In its social comment The Whole Town's Talking reminds me of the work of Preston Sturgess. Mentionable are the media hype about a famous gangster which is really over the top (it's up there with His Girl Friday in this aspect) and the incompetence of the police force which is unable to deal with the gangster and even less with the media and is presented as a helpless and clueless organization. So the movie still has some actuality.

Movie buffs who look at John Ford as an „auteur" may be disappointed. The Whole Town's Talking is very much a product of the studio system. But it amply shows what great things that system was able to accomplish at times!

Great Robinson Classic

[whpratt1 · 7/10 · 2 January 2007]

Enjoyed this 1935 Classic in which Edward G. Robinson plays a duel role as Arthur Ferguson, (Jonesy) and Killer Mannion. Arthur Ferguson is an ordinary law abiding citizen and is rather a very meek person. Unfortunately, Ferguson looks just like a gangster named Killer Mannion who is a harden criminal and they both seem to have the same facial appearance. Jean Arthur, (Wilhelmina Clark) gives a great supporting role along with a great cast of veteran actors. There is a split screen between Arthur Ferguson and Killer Mannion and Edward G. Robinson gives an outstanding performance in 1935 which was not seen very often in films during those days. Killer Mannion tries to murder Ferguson in a bank hold up but things get out of hand. There is plenty of drama and comedy. This is truly a great Classic Film. Enjoy

A real HOOT!

[Norm-30 · 10/10 · 10 June 1999]

Edward G. Robinson has been stereotyped to the nth degree as

THE "gangster" (even in Bugs Bunny cartoons!), so it's quite a surprise to see him in the role of a mild, meek clerk (who just happens to be a dead ringer for a gangster!).

The split-screen scenes (where he plays both parts) are excellent & "seamless", and the comedy is heightened by the utterly ridiculous lengths the police go to to catch the gangster!

In one scene, he (as the clerk) is eating lunch in a restaurant, is "spotted" as being the gangster, and within a matter of MINUTES the restaurant is surrounded by HUNDREDS of policeman, riot squads, & machine guns -- all to get the (wrong!) person!

A refreshing comedy; you've got to see this film, if only for Robinson's acting!

...More like The Whole Town is Mistaken ***

[edwagreen · 7/10 · 2 January 2007]

John Ford directed this 1935 comedy.

Edward G. Robinson has an absolute field-day in a double role portraying a plain, introverted office worker who is mistaken for a major gangster.

The fun begins when the gangster breaks out of jail and the usually hilarious Donald Meek identifies our poor worker. Jean Arthur co-stars as a fellow office worker.

The confusion goes on and on with the gangster taking refuge at our worker's apartment. The latter has to get a letter from the police to hold onto so that he is not arrested. Later, he is taken in protective custody only to have the real thief take his place so that the latter can knock off someone in jail who has bad-mouthed him.

The ending certainly shows that crime does not pay.

Good comedy, worth seeing

[Figtree · 9/10 · 20 February 2000]

Edward G. Robinson acted two roles in this movie and did a great job with both of them. He played the meek clerk and the tough gangster equally well.

This is a comedy, so one expects a happy ending; still, I couldn't tell how the plot was going to turn to make this work out well. Even ten minutes before the end I was still wondering.

This comedy is very well worth seeing for the acting by Robinson, the great character actors, and Jean Arthur in the role that Katz' Film Encyclopedia says was the first to show that she had comedic range. The film is directed by John Ford, and is rather uncharacteristic of the type of film he usually did.

Comedy of Errors, Modest but Amusing.

[rmax304823 · 7/10 · 15 March 2012]

Three major male figures emerged as stars from the Warner Brothers factory of the 1930s -- Bogart, Cagney, and Robinson. Of the three, Edgar G. Robinson is probably the most underrated. He was adept at tough roles ("Little Caesar," "Key Largo"), mousy characters ("Scarlet Street," "The Woman In The Window") and thoughtful men of principle ("The Stranger").

Here he plays both ends of the spectrum of virtue. He's Arthur Ferguson Jones, a frightened and self-effacing clerk at a jewelry firm. He's also the scowling, murdering gangster on the lame named Manion, a more subtle version of Caesar Enrico Bandello.

Since the two look almost identical, when Manion breaks out of the slams, the police are on the lookout for him and arrest Jones instead. It takes a long time to iron out the mistake, which reduces the terrified Jones to a neural shambles. "I tell you, my name isn't Jones, it's Manion. I mean, it isn't Janion, it's Mones!" The police finally give him a "free pass" identifying him as Jones and asking he not be molested by the authorities. But then Manion shows up, threatens to kill Jones, and confiscates the free pass every night to continue his scurrilous activities. After that, it really gets complicated.

Excellent support is provided by the professional cast, including Jean Arthur in the role of the sassy blond who eventually realizes she, who has been scoffing at Jones' tentative advances, is really his princesse lointaine and he is the guy she truly admires and cares for.

It's a little long. And it seems every possible permutation of the mixed identity plot has been explored. The idea itself is hardly fresh. It was the subject of Shakespeare's first play and goes back to the Masques of Ancient Greece.

But Robinson is so good in both roles that it's an enjoyable and often funny story. You wouldn't know it was directed by John Ford if you hadn't already known it. (There is only one comic drunk scene.) Robinson enjoyed working with Ford and, in his memoirs, he writes that his friendly working relationship continued with "Cheyenne Autumn."

Robinson in "duel" roles

[theowinthrop · 10/10 · 17 April 2006]

In 1933 Edward G. Robinson had finally essayed a comedy, THE LITTLE GIANT, with passable results. There he tackled the plot of a former racketeer discovering how unworthy the leaders of "good" society could actually be. The same type of a plot would be used again in Robinson's A SLIGHT CASE OF MURDER. But in 1935 Robinson was able to tackle a variant on gangster comedy. It was closer to Dr. Jeckyll and Mr. Hyde, as he played good guy wimp Arthur "Jonesy" Jones and public enemy # 1 Killer Mannion. Identical twins, they find they are drawn together by a physical chance. Mannion discovers that Jones looks so like him that he might be able to avoid police surveillance by switching places with Jones (who, for safety sake, won't try to stop him). Jones finds his job at jeopardy, his safety at jeopardy, and his girl friend "Bill" (Jean Arthur) possibly at jeopardy.

There are some choice moments in the film - Ed Brophy, as the chief witness against Mannion, wandering away to his doom accompanied by "Jonesy" (or was it "Jonesy"), and the antics of two particularly dull comic cops (James Donlon and - surprisingly bright in the role - Arthur Hohl). Robinson as patsy and fiend is equally effective, particularly as Mannion decides the time has come to get rid of his harmless doppelganger and take over his place in the world. But will he succeed...or will "Jonesy's" ineptitude and timidity upset his plans.

The director of the film was John Ford - it was his first film with either Robinson (who only showed up again in a supporting part in CHEYENNE AUTUMN)and his only one with Arthur. As such it reminds us of his film ARROWSMITH, which was his only film with Ronald Colman and Helen Hayes. In both cases he did well with his stars, and one wishes he had tried a second major film with Robinson, Arthur, Colman, and Hayes later on. But at least he did make these two films.

Mother of mercy! Is this the end of 'Killer' Mannion?

[utgard14 · 7/10 · 5 January 2014]

Highly enjoyable comedy about meek clerk Arthur Jones (Edward G. Robinson) who is a dead ringer for the most wanted criminal in the country, "Killer" Mannion. Robinson is wonderful in both roles. No matter how many gangster roles he played, he always managed to add something unique to each one. It may just be a mannerism or personality trait, but I feel he managed to distinguish his characters in so many similar movies more than Bogart or Cagney did. Jean Arthur is hilarious and likable as the street smart girl Jones is in love with. Donald Meek is great fun as a busybody who refuses to believe Jones isn't Mannion. It's a rare comedy from director John Ford but a good one.

The Whole Town's Talking

[dukeakasmudge · 1/10 · 28 August 2016]

Soooo disappointing.I expected The Whole Town's Talking to be way better than what it was.It seemed like when something finally happens, the movie's almost over.I really had my hopes set high for this 1.When it was over, it was over.I didn't feel a thing.It wasn't Yay that was a great movie or even I'm so glad that's over, I just felt numb.When I 1st heard about The Whole Town's Talking which was a long time ago, I knew I just had to see it.After all this time I finally had a chance to watch it.I knew what time it was coming on & did everything I could to make sure I didn't miss it, only to be disappointed.I nodded off 3-4 times but kept myself awake.After watching this movie I should've just let myself fall asleep.Skip The Whole Town's talking & go see Larceny, Inc. It's WAY better & I promise, you won't be disappointed (Man, writing this review has been a struggle)

Pure pleasure!

[Kalaman · 18 June 2002]

This is an atypical and impersonal Ford film. Given the studio (Columbia Pictures) and the screenwriter (Robert Riskin), this is an ideal stuff for Frank Capra. But it remains without a doubt one of the most enjoyable and pleasurable comedies ever made. It features graceful dynamism and vibrancy that are rare in the Ford oeuvre. It is also one of his fastest movies. It contains what it is probably one of the finest Edward G. Robinson performances I have seen. He is outstanding in the dual role of a mild, working class office clerk Arthur Ferguson Jones who is mistaken for a ruthless mobster Mannion (the role he perfected in "Little Caesar"). And then there is the lovely Jean Arthur as Robinson's coolly self-reliant co-worker, who starts by pitying him and then encourages him, and ultimately falls in love with him. She and Robinson are superb together. It is nowhere near her splendid presence in Mitchell Leisen's "Easy Living" and Frank Borzage's "History Is Made at Night", but this was the sort of role Arthur was to make of her own.

A must-see!

Clever comedy has Robinson enjoying dual role in crime caper...

[Doylenf · 6/10 · 2 January 2007]

John Ford seems an unlikely choice to direct a screwball comedy starring EDWARD G. ROBINSON in a good guy/bad guy dual role as a meek accountant who is mistaken by the public (and the police) for hardened criminal Killer Mannion. Robinson is great in both roles, timid and ineffectual as the meek clerk (Edward Jones) and rough and tough as the crime boss. The scenes between the two Robinsons are extremely well handled for such an early flick. DONALD MEEK has an enjoyable supporting role as a restaurant patron who spots innocent Robinson at a nearby table and reports the find to the police, hoping to get the award money for Killer Mannion's capture.

JEAN ARTHUR is the bouncy office co-worker who becomes friends with Robinson and has a scary encounter with Killer Mannion, after which she tips off the police as to his whereabouts. There are plot turns involving Killer Mannion switching places with clerk Jonesy in order to manage the prison killing of another thug (EDWARD BROPHY). When Robinson's own criminal gang mistakes him for Jonesy in the final sequence, it makes way for a happy ending.

And speaking of happy endings, the last scene has Robinson, Arthur, his pet canary and black cat all steamship bound for Shanghai. Cozy, eh?

Nicely paced comedy/drama still works thanks to the expert direction and fun performances from JEAN ARTHUR, EDW. G. ROBINSON and especially DONALD MEEK, who gets his monetary reward too before the final credits.

Trivia note: Interesting to note that the story is based on something by W.R. Burnett (he wrote "Treasure of the Sierra Madre"). Doesn't seem like his type of material.

screwball comedy - by John Ford!

[antcol8 · 10/10 · 26 May 2006]

It's just amazing...if he'd wanted to, Ford could've given Sturges or Hawks a run for their money. He throws himself into the timing, the riffs. And it's got that whole 30's look: fantastic back-lot town, millions of extras, Vorkapich-y montage sequence. Arthur is hysterical in her "Mannion" sequence. Both she and Robinson are brilliantly directed. And this film makes Woman in the Window and Scarlet Street possible. Who was Robinson to evoke this kind of split character so often? Tough guy, art collector...I'm not one to spend as much time with the stories of actors as the stories of directors. But it's interesting - he puts the apron on here and "feminizes" himself just like in Scarlet Street. The economy and understatement of the scene where Slugs Martin is killed is perhaps the most "Fordian" moment of the film. The chilling quality of what is not shown looks forward to films like The Searchers. By the way, I find it funny that the gangster character uses possessive pronouns before his gerunds. I guess they were better educated then...

fun premise

[SnoopyStyle · 7/10 · 11 July 2020]

Arthur Ferguson Jones (Edward G. Robinson) is a meek studious clerk. He's late to work for the first time. His supervisor had been told to give him a raise but is also told to fire the next person late to work. Wilhelmina Clark (Jean Arthur) walks in right after Jones and gets fired. Then she notices a $25k reward for escaped criminal Killer Mannion who happens to look exactly like Jones.

The premise is great. Of course, the duo Robinsons is inevitable. There is an issue with leverage. Without leverage, the story stops making sense. The easiest solution would be to have Jones kidnapped and simply have Mannion pretend to be Jones all the while. One thing is for sure. I never knew that John Ford made screwball comedy. Robinson is having fun with the duo roles.

Excellent!

[kaiserjohnson · 10/10 · 1 June 2001]

This was a terrific movie. Edward G. Robinson was incredibly convincing as Jones and Mannion. Jean Arthur was excellent as Wilhemina Clark. Incredible cast, great suspense, seamless special effects, an all-around classic movie!

Screwball Comedy That Could Have Used More Screwball (and More Jean Arthur)

[evanston_dad · 6/10 · 16 March 2012]

Robert Osborne, the host of Turner Classic Movies, could sell me sand in a desert.

I saw that this film was coming on, was intrigued by the fact that it starred Edward G. Robinson and Jean Arthur, two of my favorite actors, and was even more excited after Osborne's introduction of it. But then I watched the movie itself, and nearly fell asleep. It's o.k., but it's certainly nothing special, and fellow Jean Arthur fans should be warned that her credit is a bit of a tease -- she drops out mid-way through the film and is barely even seen in half of it.

Edward G. Robinson gets to have some fun playing two characters -- a criminal mastermind and the meek officer worker who just happens to look exactly like him. This premise is meant to be screwball, but John Ford proves that screwball comedy is not his forte.

Grade: B-

Marvellous

[planktonrules · 9/10 · 6 June 2005]

I really liked this film. The film has a lot of depth and yet has been mostly forgotten today. It just goes to prove that Edward G. Robinson can do more than just play the gangster. In fact, in this movie he plays BOTH a gangster and a wimpy middle-aged man who LOOKS like the gangster.

The movie does not really show the mad dog gangster much but centers on the wimpier character who is often mistreated and under-appreciated by those around him. When, by chance, he is mistaken for the mobster, the fun begins and it all works together for a charming little 1930s Hollywood ending.

Now that's my idea of a boyfriend, He-Man plus!

[hitchcockthelegend · 7/10 · 18 December 2008]

Arthur Ferguson Jones is a simple and timid man, punctual and committed, he is most certainly as honest as the day is long. Worshipping his co-worker, Wilhelmina, from afar he is most surprised when both of them are thrust together after an incident at work. It turns out that Arthur is a dead ringer for escaped gangster, Killer Mannion, so after mistakenly being arrested, Arthur is issued with a special identity pass by the police, something which the real Mannion is very very interested in!

John Ford is of course one of cinema's leading lights, notable films fill out his CV at regular intervals, yet I wonder just how many a film fan would associate the great man with screwball comedy? More importantly, how many would associate The Whole Town Is Talking with being a misunderstood piece of class? Herein lays the most interesting aspect with this largely forgotten John Ford picture, it's a screwy comedy caper first and foremost, yet as I dug deeper in research I found that many critics find it to be a darkly humorous film with almost artistic genius seeping from its pores.

Well is it all that? As they say down my way! Well the truth is is that it falls into the film army that enlists the more than meets the eye characters, but it's ultimately overvalued because of the generals leading the piece. There is no doubt that the picture is gladly oozing a dark duality subtext, where once was a mild and timid man, a sequence of events gives our main protagonist confidence and a devilishly purpose of being; it's a masterful piece of film making from director and leading man alike. Yet as great as these dark undertones are, I personally have come away from the film feeling deprived of a bona fide comedy classic, it feels to me like it got confused within its intentions.

Edward G Robinson is sublime in the dual roles of Killer and Arthur, a very special actor that had more in his armoury than merely playing famous thugs. Here he positively revels in the chance to play both sides of the caricature genre coin. Jean Arthur is delightful as Wilhelmina, husky voice and smoking a cigarette like no babe from the 30s did, while Arthur Hohl, Wallace Ford & Donald Meek all earned their money with solid performances. The writing is brisk from Jo Swerling and Robert Riskin, adapting from the W.R. Burnett novel (who wrote the excellent Little Caesar), they have avoided drifting into farce mode and laid down an astute, if ambiguous, piece of work.

It's an odd thing to say, but it's a strangely un-fulfilling film that is most definitely essential viewing for serious cinephiles, yes, it really is something of a conundrum, but maybe that is just me? 7.5/10

Wow, If you are not an Edward G. fan...you will be.

[ttreybal · 9/10 · 2 January 2007]

Edward G. Robinson is such an awesome actor & he shows it all in this fine film. He plays his typical bad boy gangster side as well as a humble bachelor/office worker and on top of that he can play each of these characters switching roles. Not many actors can pull off this feat and be believable at the same time.

Of course we get to enjoy the young Jean Arthur also & she's always a joy to watch. She brings fun and realism to each role she plays.

The film had all guns loaded going into it with the screenplay written by Robert Riskin & Jo Swerling based on a story by W.R.Burnett and directed (& co-produced) by John Ford.

I thoroughly enjoyed this film!!

Double trouble

[Lejink · 7/10 · 30 December 2015]

I've been trying to track down this old Hollywood feature for nearly 40 years since I first saw and loved it. Of course it's not quite as wonderful as my childhood self remembers it but it's still a delightful movie I was more than pleased to watch again. In particular I remembered Edward G Robinson's meek Arthur Jones character's line, emboldened by his first experience of alcohol and a cigar, that a woman was just a woman but a good cigar was a smoke, great stuff!

The inventive plot has Robinson's timid office worker sharing the face of a notorious gun- toting gangster, Killer Mannion, causing initially confusion but later consternation amongst the local police and press as Mannion forcibly takes possession of the pass-letter given to Jones by the D.A. to differentiate them, to rub out a rival gangster in prison, almost literally a licence to kill.

At Jones's side, egging him onto acts of valour, is the vivacious Jean Arthur before she unwittingly falls into Mannion's hands but in a final twist, the mouse roars and all is resolved happily for ever after as Jones gets the girl, his life back and his long-desired trip to China before the end credits.

Robinson is wonderful in the twin parts, firstly parodying his hard-nosed gangster roles of earlier years, most notably as Rico in "Little Caesar", with the lily-livered accounts clerk Jones before effortlessly turning into the hard-nosed murdering crime-lord of Mannion. I loved the scene where the doppelgängers unexpectedly first meet, director Ford employing some inventive double exposure technique to get them both in shot. The writing too is sharp and with some good gags too. The film is relatively untypical of John Ford, being a fast-moving screwball comedy but he directs with verve and timing and helped by the fine playing of his cast, particularly the leads, makes it a winning movie all round.

An innocent man with the face of a criminal.

[michaelRokeefe · 5/10 · 3 June 2001]

John Ford directs this comedy/crime yarn about a mild mannered office clerk(Edward G. Robinson)being mistaken for a public enemy, 'Killer Mannion'. Robinson is outstanding in both roles and very impressive with his deadpan humor. There is a talented supporting cast that includes: Jean Arthur, Wallace Ford and John Donlan.