They Call It Sin

A small-town Kansas girl encounters hard luck & happiness when she follows her true love to New York City.

Aided by an excellent cast, THEY CALL IT SIN is a superior soap opera which delivers just enough sentiment & humor to keep the attention of most viewers. While the heroine's change of affection in the final scene is never really explained, this doesn't detract from the overall enjoyment of the film. Particularly commendable are the sequences set in the Merton park, with the softly playing ukulele setting a gentle romantic mood.

Beautiful Loretta Young is radiant as the sweet young thing who follows her dreams to the Big City. Doe-eyed & innocent, her purity is nicely countered by brassy, sassy Una Merkel, cartwheeling through her role as a chorus girl who doesn't take nonsense from anyone. Suave doctor George Brent & earnest businessman David Manners are both very fine in their roles as the fellows who adore Miss Young.

Helen Vinson plays Manners' wealthy fiancée. Elizabeth Patterson scores in her small role as Miss Young's spiteful ‘mother.' Louis Calhern plays the proper scoundrel as a lecherous theatrical producer.

Movie mavens will recognize an uncredited Roscoe Karns as a sarcastic dance rehearsal director. Marion Byron delivers some funny moments as the Merton soda jerk.

They Call it Sin (1932)

*** (out of 4)

A New York business man (David Manners) goes to a small farm town to close on a deal and meets a young woman (Loretta Young). Even though he has a fiancé back in NY, the two quickly fall in love but when he has to go back the woman follows him, which just leads to more problems. This is a rather charming romantic drama, which features some fine performances as well as several nice romantic touches. Both Young and Manners are terrific together with Young bringing that beauty to the screen, which always works well with her tender touch as an actress. This is also the best I've ever seen Manners who manages to be very charming and sweet without going over the top. George Brent and Una Merkel add nice support. Being a Warner film, there's an added murder subplot added on towards the end, which really wasn't needed but the film ends in an unexpected way, which makes up for that silly turn.

I think this film is terrific. What starts off with a B movie feel swiftly shifts gears into an A grade melodrama with very strong moral dilemma and emotional logic, this First national WB Vitaphone picture is very rewarding for anyone remotely interested in the technical era of talkies in 1932. There are IMDb comments that spew on this film which I find puzzling, and I encourage you to read the excellent and informative review by 'rsoonsa' also on this site. Personally I was constantly surprised at the storyline and loved every minute of seeing and hearing the fabulous genuine Vitaphone (gramophone record) sound. The sound editing and camera smoothness and many lavish sets and the camera movement about them was of particular interest because this film is so deliberately experimental in furthering the ability to capture and record and be sophisticated in its presentation. With a great cast and the gorgeous Loretta Young front and center... and with hilarious Una Merkel (as Dixie Dare...!) you are in for a treat of pre code proportions with solid and exciting production values, humor and storyline. Other comments can tell you the story line, I just want to encourage you to see this film and have 70 minutes of constant surprises.... both technically and as entertainment.

Merkel, Brent, Manners, and Young had JUST gotten into films at the tail end of the silents, but were even bigger hits in the talkies. Marion (Young) is the organist at a small town church, and meets Jimmy (David Manners). They hit it off, but when she shows up in New York, now there's explaining to be done. Fun scene where Dixie (Una Merkel) asks Marion for a cigarette, and when she says no, Dixie takes one of her own out anyway, and smokes it! Then they try to wiggle their way into show biz. Marion has real talent, and Dixie is full of energy and sass. Directed by Thornton Freeland, whose NEXT film would be the awesome "Flying Down to Rio..." check it out, if you haven't seen it. fun stuff. early Rogers and Astaire. Fun show about a show.

A startlingly mature teenage Loretta Young stars in this fast-moving melodrama as Marion Cullen, a songwriter who leaves her Kansas home for New York City to shape a career in show business and to follow the man she loves, Jimmy Decker (David Manners), a salesman whose business junket to her home town has tied their hearts together. Decker, however, is betrothed to another (Helen Vinson) and Marion discovers that success in her new profession benefits from a relationship with Ford Humphries (Louis Calhern), an influential producer but a libertine whose demands upon her include more than her ability to craft tuneful pieces for the stage. Decker, now married, continues to harbour his love for Marion, as does his best friend, medical doctor Tony Travers (George Brent) and it remains for the young musician to decide which of the three men she will choose and what sort of position she will prefer for herself, that as mistress, wife, or other woman. Graceful Loretta Young is asked to provide acting skill instead of solely her superb bone structure, and she does so to good result in mosaical scenes, displaying a full range of emotions while making them believable and, of course, is a perfect mannequin for the Orry-Kelly gowns with which she is raimented. David Manners must rely upon more than his profile here, and the stage-trained actor performs creditably, specially so in airy scenes, while silky George Brent and shrewd Louis Calhern execute their roles well; it is Una Merkel as Dixie Dare, Marion's Gotham companion, who nearly steals the show with her rendering of a salty-mouthed, high-stepping chorus girl. The entire production benefits from the extensive cinematic background of director Thornton Freeland who utilizes an interesting assortment of camera angles, is responsible for the crisp cutting and editing and handles his extras with sureness, with only the abrupt final minutes barring the work from achieving a higher aesthetic plane.