Afraid to Talk (1932) Poster

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8/10
Solid programmer, minor flaws.
F Gwynplaine MacIntyre16 February 2008
Warning: Spoilers
'Afraid to Talk' is one of those efficient low-budget Hollywood features that deserve to be better known. This drama of corrupt politicos is very much of the 1930s. I don't mean to say that modern politicians are less corrupt than their 1930s counterparts, but the corruption in this film is heavy with the milieu of the Depression era. This movie's appeal is helped considerably by a large cast of familiar faces. Even Arthur Housman gets a look-in, doing his perennial drunk act.

SPOILERS AHEAD. The very talented character actor Edward Arnold spent most of his film career portraying two types: incorruptible authority figures, and seemingly incorruptible authority figures who are secretly crooks. Here, for once, Arnold plays an outright crook who doesn't hide his dishonesty ... and named Jig Skelli, no less. Skelli's rival for control of the underworld is one Jake Stransky, played by Robert Warwick. I disliked this casting: Warwick was a deeply cultured actor with a cultivated stage voice (although American, he sometimes played upper-class Englishmen). Warwick, a good actor within his range, is simply not believable as a thick-ear gangster.

When Skelli rubs out Stransky, the hit is witnessed by bellboy Eddie Martin (Eric Linden). Determined to leave no witnesses, Skelli tries to kill Eddie but merely wounds him. Eddie grasses to the authorities ... which, in this movie, proves to be a mistake. The district attorney (Tully Marshall, excellent), his assistant (Louis Calhern, quite good) and the mayor are all crooked too, and in Skelli's pocket. The mayor is played by Berton Churchill, who sometimes played respectable authority figures but more typically (and more effectively) portrayed authority figures who are secretly corrupt. Churchill's most memorable role was as the banker who embezzles from his own bank in 'Stagecoach': he plays a similar character here.

The D.A. realises it wouldn't be a good idea to indict Skelli, since Skelli has got the goods on every crooked politician in town. But the murder of Stransky has got to be prosecuted. So the D.A. indicts poor Eddie Martin! Talk of being in the wrong place at the wrong time! The innocent Eddie is pressured into giving a false confession, and now he's looking at a death sentence.

Eric Linden briefly played lead roles in this and a few other films. As the hapless bellboy Eddie, Linden is impressive in a role requiring a range of emotions. Viewers who have never run afoul of the justice system might have difficulty believing that an innocent man would confess to murder; I found Linden's performance entirely believable, and I'm painfully aware of the tactics which corrupt police and prosecutors employ to wring confessions out of the innocent.

Much of 'Afraid to Talk' is excellent. Although there are several fine supporting performances, Sidney Fox is insipid and dull in the female lead as Eddie's frantic wife. Also, the last reel of the movie seems rushed ... as if the scriptwriters needed to tie up the plot before they ran out of typing paper. My rating for this one: 8 solid points out of 10.
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8/10
Right stars for the European version ONLY!
JohnHowardReid27 March 2018
Warning: Spoilers
Copyright 31 October 1932 by Universal Pictures Corp. New York opening at the Winter Garden: 18 December 1932. U.K. release: 29 April 1933. Australian release: February 1933. 69 minutes.

NOTES: The stage play opened on Broadway at the Avon, after a sensational off-Broadway debut on 22 April 1932 at Provincetown where it attracted record-breaking crowds and an unusually large volume of press attention. It ran 56 performances before transferring to the Avon where it lasted five weeks. It tells of a hotel bellboy (Elisha Cook Jr) who witnesses a murder by an influential crime czar (Harold Huber), who has the witness imprisoned and finally killed by the policemen who are supposed to be guarding him. Walter Hart and Michael Blankfort produced. Hart also directed. COMMENT: An exceptionally hard-hitting drama of judicial and political corruption, directed with surprising verve by Edward L. Cahn some years before he became a dreary director of inescapable, low-low-budget "B" movies.

The cast is unusually strong, with stand-out performances from Tully Marshall as the cowering District Attorney, Louis Calhern as his corrupt assistant, Berton Churchill as the shifty mayor, Frank Sheridan as Police Commissioner Garvey, and Edward Arnold in the Harold Huber part. Superbly photographed by Karl Freund, Afraid to Talk is an excellent example of the socially-aware Hollywood movie of the early 1930s. One's only quarrel with Hollywood is the substitution of a happy ending for the play's more effectively dramatic downbeat curtain.

Fortunately, it now appears that two endings were filmed. A happy one for American release and a version close to the stage play's for the European market.

OTHER VIEWS: For some reason, this brilliant film noir has not made anybody's must-see list. Why? Too old? Hardly. Underworld (1927) is frequently cited as a classic example of the genre. Does this movie lack an appropriately noirish mood and atmosphere? Again, no. In fact cameraman Karl Freund is often quoted as a master of film noir lighting
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7/10
Let's Beat Up Eric Linden
boblipton7 July 2020
It's a crusading against corruption thing, with performances that don't quite hit the mark. It's worth noting that Louis Calhern plays a crooked lawyer in much the same way he would almost two decades later in THE ASPHALT JUNGLE, but the character here is a smirking, one-dimensional weasel.

I was going to give this a "watchable" but about two thirds of the way through, there is a scene in which they give Eric Linden the third degree (having recently seen ARE THESE OUR CHILDREN?, I thought he deserved it), when suddenly a light bulb hanging from the ceiling is set wobbling, the shadows come out and you remember that Karl Freund is the DP. Freund transforms this average picture into something very good, with ur-noir techniques.
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Political Corruption Theme Still Relevant.
GManfred13 August 2009
Like Gangster Pictures? "Afraid To Talk" may be the best of this genre ever made. It tells a story of corruption in which traditional ethical guidelines are erased, in which there are no 'good guys' or 'bad guys'- they're all bad. It was directed in breathtaking and expert fashion by Edward L. Cahn, who directed many crummy B's of the 50's and 60's, and this must be his best picture.This is a pre-code gangster picture and by my reckoning better than "Public Enemy" or "Little Caesar" and despite the fact that there is no big name gangster-type star here.

In addition, this is a Universal production, which goes against the 30's Hollywood slogan that, "If it's a Universal it's a Horror". Somehow this backwater studio produced this taut, well-acted, hard-hitting movie and did it in 72 minutes worth of film. The baddest of the bad guys is Louis Calhern, doing his dastardly best (or worst) as a treacherous Asst.District Attorney. In this corner, as a hapless hotel bellhop, is Eric Linden, who is married to munchkin-like Sidney Fox, in a thankless role as a housewife. Other career crooked politicians in the cast are Berton Churchill, Edward Arnold and Robert Warwick. Look for Mayo Methot, Bogie's first wife,as a gang moll.

Afraid To Talk has never, to anyones or any publications knowledge, been shown on TV, and is not available in any format except 35MM. Do not miss it if the opportunity ever arises. I was also impressed to learn of the existence of political corruption elsewhere - I'm from N.J. and I thought we invented it.
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9/10
Powerful study of urban corruption, still timely today
django-17 June 2002
This 1932 Universal feature, directed by action-crime specialist Edward L. Cahn, is a powerful study of urban corruption that is still timely today. Although only 72 minutes long (what a lesson today's filmmakers could learn in that department!!!), the film presents a complete urban society--law enforcement, judiciary, city administration, Mayor's office, organized crime--and a completely corrupt system. Eric Linden plays a bellhop at a swank hotel who happens to be in the wrong place at the wrong time his life to be destroyed although he has done nothing wrong. He's simply not "well connected." Simultaneously, corrupt cops conspire with a corrupt DA and a corrupt judge to keep graft-paying mobsters from suffering any harm. The society depicted in the film is corrupt, although there are honest and well-meaning individuals in any particular department who do their best to fight the corruption and to stand up for honest working people--however, those individuals are either destroyed or ignored or frozen out and they have little effect. As a pre-Code film, Afraid to Talk does not pull any punches, and its ending is something you'd never see in a corporate product playing the multiplexes here in 2002. The film moves at a fast pace, and the last five minutes perhaps move at TOO fast a pace, but in its own way the pacing helps to create the feel of inevitability that gives the film its unique fatalistic feel. I watched this with a group of 30 people, all of whom were speechless, realizing the sad, painful truths the film depicts. Afraid to Talk is a forgotten classic that packs a powerful punch, and still does today, 70 years after its initial release. If you ever get a chance to see it, don't miss it.
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9/10
The Merry Go Round of Civic Corruption
kidboots15 January 2011
Warning: Spoilers
The nominal stars were Eric Linden and Sidney Fox but the ones everyone will remember are Edward Arnold as head racketeer Jig Skelli and Louis Calhern as the cool and callous Assistant District Attorney John Wade. The movie was based on the controversial play, "Merry Go Round' which only ran for about 40 performances but was all about blatant municipal corruption.

Eric Linden excelled in another of his "tragic boy of the screen" roles. He plays Ted Martin, a bellboy in a big city apartment. When he answers a call for room service he gets caught in the cross fire of a gangland shooting. Ted is shot and left for dead but he lives and identifies Jig Skelli as the assailant - even though his young wife Peggy (Sidney Fox) has already been threatened - if he talks!!! Of course the local council is completely corrupt and in the racketeer's pockets. When honest judges and councilors quit in disgust, they are replaced with stooges. Ted becomes embroiled in a nightmare world where the only other trustworthy person is his wife. After being persuaded (by being given police protection) to identify Skelli, Wade "through the kindness of his heart" sends Ted and his wife to another city to start over, but before they can leave, Ted is hauled off to the police station where he is given a massive beating to persuade him to confess to the crime as it will get everyone of the hook!!

The scenes of "you scratch my back, I'll scratch yours" must have been a real eye opener for the public. The municipal meetings, not being able to start until the real "civic leaders" - Jig and his boys - arrive, to give their orders. The Mayor (Berton Churchill) is a silent partner in "Skellis" speakeasy and Louis Calhern is a standout with his icy coolness that never deserts him, even at the end. There is always a gangster's moll, this time played by Mayo Methot and she is suitably slinky, warbles a tune and even manages to switch allegiances to Wade - or does she??

It was also the end of the line for Sidney Fox as well. It was her last role for Universal and it was a part that any young actress could have played. Her complicated love affairs had ruined her career. Eric Linden had a few dramatic moments as the innocent bellboy, but unfortunately only had another year of outstanding roles left. His sensitive boy next door style was being replaced by rugged he man types, such as Clark Gable etc.

Highly Recommended.
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9/10
A hard-hitting Pre-Code that pulls no punches (except one)
melvelvit-125 February 2015
Warning: Spoilers
A hotel bellhop witnesses a gangland murder and it almost rips the lid off a corrupt city ...almost...

I must say this Universal gangster film made "Warner Bros cynicism" look like child's play. "The Czar Of Noir" Eddie Muller screened this and the same year's OKAY America (another Universal with Edward Arnold & Louis Calhern) for one of his "Noir City" film festivals as a classic example of "proto-noir". Some call it a "cheat" (Linden survives his hanging) but the ending, to me, is both jaded and hopeful, no mean feat -and Cahn's handling of the boy's "interrogation" still has the power to shock. It's the kind of story that'll never go out of style but it was also very topical. Although pains were taken to show the city in question wasn't New York (Linden tells his bride that his brother in NYC will help them make a new start), it was obvious to one and all at the time that it was a thinly disguised account of Mayor Jimmy Walker's corrupt reign.

I also liked the Pre-Code sensibility on display; for example, when the bellhop and the elevator boy are taking the lift up to answer a call, the bellhop says, "I'll bet it's a dame" and when an effeminate man enters, the elevator boy forks over a quarter. And when one of the DA's men starts developing a conscience after the bellhop's beating, his co- hort snarls, "Whaddaya, going 'pansy' on us?"

Simpering Sidney Fox and slinky Mayo Methot (a cross between Mae West and Baclanova) made for a nice distaff contrast. Fox (who, like Helen Twelvetrees, lost momentum and faded away when the Code came in) had been forgotten for decades until her name cropped up on Jack Paar's TONIGHT SHOW in the 60s when Jack was interviewing Bette Davis. They were discussing Davis' debut and Bette pointed out that it was actually Sidney Fox and not she who was THE BAD SISTER. Jack did a double take and gasped, "He was??" Sid, the mistress of both Laemmele Sr. and Jr., eventually committed suicide, just like Twelvetrees.

This film was remade in East Germany as HOTELBOY ED MARTIN (1955) and one has to question the intent. It's obvious that the bellboy was "everyman" in America but in East Germany was the corrupt system a pluperfect example of capitalism at work? Hmmm...
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8/10
Destroying one's own soul to stay in power.
mark.waltz23 June 2022
Warning: Spoilers
The mayor and district attorneys of an unnamed city are tied into the corruption of the rackets creating a large element of crime that they don't seem to be doing anything to stop. When he is indicted in a murder, racketeer Edward Arnold turns the tables on these politicians by coming up with documentation that ties them in with corruption, demanding that they will get him off the hook, or else. A young man, Eric Linden, has evidence that ties these politicians into the criminal activities to go on, and they must do everything they can to silence him without stirring up suspicion.

I doubt in any big city that a pompous fool like the character played by Burton Churchill could get elected as mayor (certainly not in any of the huge metropolises), but somehow he did get elected in this fictional city, and his hands are as dirty as Arnold's, along with the district attorneys played by Tully Marshall and Louis Calhern. Linden is set up to be accused of the crimes, leaving wife Sidney Fox frantic.

Best known at the time for series of classic horror films, Universal created some real life monsters with a politicians and racketeers seen in this movie. The direction of Edward L. Cahn keeps this movie going out of steady pace, almost nail biting because of the way it's young hero is framed. The judge chosen to hear Arnold's case resigns in fury because of the demands made on him, and they just simply point out someone else on the mayor's staff to be sworn in as judge. This 90 year old film truly remains potent with Arnold adding another great villain to his cannon of bad guys that would just get better when he was cast in a few Frank Capra movies. Definitely one of the great unsung films of the pre-code era of classic cinema, and a must for political science majors studying the history of corruption.
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Gem from the best Edward L Cahn's period
searchanddestroy-123 November 2022
The period of LAW AND ORDER, one of the best westerns of the thirties, and not only, because of its realism and brutality, raw violence. Here we are far from this kind of stuff. What is daring here is the corrupt politicians shown in a very brilliant, intelligent way. This film proves that Edward L Cahn was a pretty good director in his early career. I can not believe that he later made so many lousy pictures, without any ambition.... This one is a genuine film noir, really worth, and what a shame that so few moviegoers have seen it, especially here, in France, my homeland. A must see. And during this first decade of the talkies, there are many of them. Don't ignore them if you find any one....
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