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This clever spoof has bosses, mugs, dames, robbers, state troopers--and corpses galore. Everything needed for a neat crime take-off.

Edward G. Robinson has great fun heading a stable of fine character actors from the late 30's in this surprise black and white treat, directed by Lloyd Bacon.

Just be on guard for what's stashed under the upstairs bed--not to mention what's hiding in the closet!

This is a funny and relatively fast paced gangster comedy--yes I did say "ganster comedy". It's about a gangster boss trying to go legitimate after prohibition was repealed. He tries, unsuccessfully, to market the same horrible beer that sold well during prohibition (the clientèle was less choosy when that's all they had to chose from). The problem is that in addition, bad stuff keeps happening around him that he had nothing to do with, but with his reputation he certainly would get the blame for! Try as he might, bad stuff just keeps happening.

Edward G. Robinson does a very good job with comedy. If you liked this film, try The Whole Town's Talking or Larceny, Inc. to see more of his comic talents.

By the way, I have absolutely no idea why, but the studio remade this film as "Stop, You're Killing Me" in 1952 (with Broderick Crawford in the lead). My advice is just stick with the original--it's better in every way.

Edward G. Robinson is excellent in this hilarious, sometimes surreal gangster spoof from Warners, directed by Lloyd Bacon. Robinson is an ex-bootlegger who goes legit after the repeal of the Prohibition. His daughter is in love with a state trooper and his former business associates turn up as corpses in his upstairs apartment. One of the joys of "Slight Case of Murder" is that it is so harmless and never takes itself too seriously. You get the impression that everyone in it seems to be having a great time. It is a fun picture, I'd love to watch it again.

Edward G. Robinson stars as an ex-bootlegger who tries to go straight after the repeal of Prohibition. The problem is he decides to stay in the beer business, not knowing his beer is swill. Making matters worse, his dopey daughter is back from school in Europe and her boyfriend is a cop. All hell breaks loose at his rented summer house in Saratoga Springs when the family, his stooges, and some unlucky bank robbers all converge during a big house party. What fun! Ruth Donnelly is good as the wife, Margaret Hamilton has fun as the orphanage director, Bobby Jordan (as little Douglas) is hilarious, as is Paul Harvey as the dyspeptic father. Good cast all around includes Allen Jenkins, Harold Huber, Jane Bryan, Willard Parker, John Litel, and Edward Brophy. Carole Landis is one of the party guests, and the great Betty Compson, an Oscar nominee for The Barker, has a bit part as dark-haired Loretta on the piano bench. Best of all, however, is Robinson who is totally at home in this zany comedy.

In the early days of his career, the late great Edward G.Robinson, often took on roles which for him were a change of pace. Here is a good example. One of the most memorable character roles he portrayed, was the tough guy character "Rico" in 'Little Ceasar' ruler of his tiny empire. However that was when gunmen ruled the town and bootleg whiskey was all the rage. However as with every era, Prohibition was soon repealed and as in this film, the bootlegger went straight. Edward G. Robinson is now tough, legitimate and respectable, Remy Marco. Together with his wife, Mary Marco (Jane Bryan) daughter, Nora Marco (Ruth Donnelly) and his old gang plan on making a go of the new lifestyle, a brewery, making domestic beer. However, trappings of his former life follow. Several hoodlums plan on ambushing him at his Saratoga home, but end up as excess baggage and Marco must deal with them as well as an uninvited State Trooper and son-in-law visiting him at that very moment. In addition, Marco has invited a juvenile delinquent and 'Dead End Kid' Douglas Fairbanks Rosenbloom (Bobby Jordan) to come and learn how to be an upstanding citizen. The hilarity of this film is a mad-cap series of quick changing comical situations which invite humor only if one remembers how serious the 1930's were. Much more interesting is the quick thinking dialog between the characters as they adapt to life after criminal prohibition. ****