Vendetta

Flawless blending of cynicism, humor and tragedy, this re-enactment of a real-life murder in the south consciously downplays the real-life anti-semitism in the real murder of Mary Phagan case, but carry more of an emotional wallop than the Jack Lemmon made-for-TV docudrama -- although the latter is still good on its own terms. Lana Turner has an impressive screen debut as the murder victim. Gloria Dickson is very powerful as the defendant's wife, and Claude Rains is magnificent as the politically minded prosecutor, but Allyn Joslyn as the cynical, burnt out reporter steals the show. A truly excellent example of how historically based movies can be among the most memorable.

"They Won't Forget" and neither will you if you've seen this chilling depression-era drama based on an actual murder case. Some of the scenes are so real, they're scary. One look at gimlet-eyed Trevor Bardette with a voice from the grave is like seeing death incarnate and enough to freeze a platoon of marines in their tracks. Then there's hapless Clinton Rosemon, his pleas for mercy so achingly real, they echo across generations of tormented black souls. Also not to be overlooked is the bereaved Gloria Dickson. Her righteous anger at movie's end is so heart-felt, I expect it probably was. Together with the wily District Attorney Claude Rains, there's an uncommon authority to this searing drama of justice gone wrong.

There's also an uncommon richness of detail. The script, for all its sprawl, remains tight and unrelenting, a genuine testament to writers Rossen and Kandel. Then too, producer Le Roy pulled out all the stops and the results show it. No one acts without apparent reason. Everyone has understandable motivations for doing what they do. That's why the upshot is so tragic. It's as though there's an on-rushing train nobody can stop because the momentum is carried by an infernal logic greater than the demands of justice. Despite appearances, it's not an anti-lynching film, though it is that. Rather, it's a down and dirty look at the cynical roots of injustice. From lowly pool hall to lofty city council, no one wants to convict an innocent man, but then no one much cares either. This movie stands as a fine example of why Warner Bros. was the studio of record during the stressed-out 1930's. Anyway, for guys who don't like the gloomy theme, there's always the chance to catch Lana Turner as she juggles two balloons while sashaying up the sidewalk in the film's most famous scene.

All in all-- a classic of 30's social realism, with Hollywood at its unapologetic best.

Mary Clay, played by Lana Turner (living up to her sweater girl fame) very early in her career is a student at a small southern town's business college. She has a crush on her teacher, Professor Robert Hale, played by Edwin Norris. Hale, is a man from the north - not really welcomed in a town that has a parade for Confederate Memorial Day. After the class was dismissed, Mary and a friend went for a soda and Mary forgot her vanity case. She went back to the school and was murdered.

Local newspaper staff bursts into Hale's apartment, tells Hale's wife that he's in jail, and after she faints, newsmen search the apartment, taking a honeymoon photo, searching through drawers.

This movie demonstrates how a quest for political power can taint a trial. Being an "outsider" can make it difficult for a fair trial. Although this takes place in the south, mob justice can and has occurred all over the country during the 1920's and 1930's.

In a small Southern town celebrating Confederate Memorial Day, a young woman (Lana Turner) is murdered. Suspicion quickly falls on her Northern teacher at business school, Robert Hale (Edward Norris), whom she had a crush on. Ambitious district attorney Andy Griffin (Claude Rains) uses this as an opportunity to build a name for himself, not caring about Hale's guilt or innocence. Hale is arrested and tried but the anti-Northern sentiment running through the town guarantees his trial won't be fair.

Great role for Claude Rains, who owns every scene he's in as a remorseless politician out to further his career regardless of cost. Edward Norris (Ann Sheridan's first husband) has probably his biggest role as Robert Hale and does a fine job. Film debut of Allyn Joslyn, who plays a slimy reporter colluding with Rains. Pretty Gloria Dickson plays Hale's wife. She has a potent speech at the end. First significant role for Lana Turner. Note the tight sweater which accentuates her...attributes. This is why she was dubbed "the sweater girl" early in her career. The rest of the cast is made up of familiar faces, including Otto Kruger and Elisha Cook, Jr.

Loosely based on the real story of Leo Frank, a Jewish man accused of murdering 13 year-old Mary Phagan in Georgia. He was lynched in 1915. The story here keeps antisemitism out of it, instead making it more of a focus on the resentments and prejudices of the South towards the North. Having grown up in the South, I know these sentiments were very real for many even decades after this movie was made. This is a film that examines everything from bigotry to mob mentality and the manipulation of the public by politicians and the media. Sociologically and historically relevant, it's a powerful movie from Warner Bros. with a good cast.

It begins with a disclaimer that all characters are entirely fictitious, etc. etc., and cites as source material a novel, but you can't fool us: It's the Leo Frank trial of 1915, updated to the then-present-day South and with Frank's Judaism carefully removed. Other than that, the details are surprisingly close to the actual trial, and the downbeat ending chillingly mirrors reality. Warner Brothers, known in the 1930s as the socially conscious studio, had a message to flog, and in this case it goes a bit overboard: No character has more than one dimension, and even that excellent actor Claude Rains, as the DA, snarls and rolls his eyes and gesticulates wildly, overdoing the blind ambition bit. But for its day it's a pretty brave and out-there indictment against mob violence, bigotry, and sensationalism, particularly the latter. Indeed, the message one takes from it today is that the media hasn't really grown worse in the intervening years -- there's just more of it.