A young woman with a difficult past is sentenced for a murder she didn't commit, but revealing the truth could hurt people she loves.A young woman with a difficult past is sentenced for a murder she didn't commit, but revealing the truth could hurt people she loves.A young woman with a difficult past is sentenced for a murder she didn't commit, but revealing the truth could hurt people she loves.
- Director
- Writers
- Stars
Joseph W. Girard
- Captain of Detectives
- (as Joe Girard)
Jack Cheatham
- Policeman
- (uncredited)
Rose Plumer
- Paulino's Maid
- (uncredited)
Otto Yamaoka
- Kito - John Grant's Houseboy
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
THE SIN OF NORA MORAN (Majestic, 1933) directed by Phil Goldstone, with title inspiration to Metro-Goldwyn-Mayer's THE SIN OF MADELIN CLAUDET (1931) featuring Helen Hayes, is a low-budget production with high production values. Starring Zita Johann, a notable stage actress with few films to her credit. her characterization of Nora Moran offer her a very rare opportunity in a feature film performance.
The plot opens as John Grant (Alan Dinehart), a district attorney, is visited by Edith Crawford (Claire DuPrey), his sister, regarding a handful of unsigned love letters belonging to her deceased husband and governor of the state, Dick Crawford (Paul Cavanagh). Grant reveals the woman to be Nora Moran, age 21, in prison on death row awaiting her execution. Through flashback, Grant relates the sin of Nora Moran, Crawford's mistress, starting as a child of six where young Nora (Cora Sue Collins) is adopted by Mr. and Mrs. Moran (Harvey Clark and Aggie Herring). Following their deaths, the teenage Nora (Zita Johann) faces life of uncertainty. With the help of her good friend, Father Ryan (Henry B. Walthall), Nora goes on her own searching for work until eventually working for the King Brothers Circus under Paulino (John Miljan), a lion tamer. She leaves the circus after Paulino forces himself on her. While in New York, Nora becomes a chorus girl in musical shows, attracting attention of Dick Crawford (Paul Cavanagh), a man with political ambitions. She learns through Grant that Dick has a wife, but continues to show her love for Dick by preventing Paulino from ruining his political career through blackmail. Grant's story further reveals why Nora ended up in prison and awaiting execution. Also in the cast are Sarah Padden, Ann Brody, Syd Saylor and Otis Harlan.
I first saw THE SIN OF NORA MORAN when presented during the after midnight hours on New York City's WOR, Channel 9 back in 1982 under another title, VOICE FROM THE GRAVE. With Zita Johann, best known for co-starring opposite Boris Karloff in THE MUMMY (Universal, 1932), I assumed this to be another horror movie. I have never heard of VOICE FROM THE GRAVE and wanted to see what it was all about. After many years in obscurity, THE SIN OF NORA MORAN (title restored) not only turned up on DVD, but made its Turner Classic Movies premiere May 3, 2020, by this viewing refreshed my memory. Following the original theatrical title and opening credits, THE SIN OF NORA MORAN predated those film elements used frequently during the 1940s through its grand mix of film noir narrative, montage sequences, voice over thoughts, split screen changeover, non-stop underscoring, and slight dose of supernatural overtones. Coming from an independent movie studio as Majestic, THE SIN OF NORA MORAN works surprisingly well through its then unique method of storytelling told during its 64 minutes. Aside from THE POWER AND THE GLORY (Fox, 1933) starring Spencer Tracy, it makes one wonder if there are any other flashback narratives of this sort that have become virtually unknown to film scholars?
Regardless of this newfound rediscovery and interesting premise, it appears Zita Johann's legacy continues to remain more for THE MUMMY than THE SIN OF NORA MORAN. (**)
The plot opens as John Grant (Alan Dinehart), a district attorney, is visited by Edith Crawford (Claire DuPrey), his sister, regarding a handful of unsigned love letters belonging to her deceased husband and governor of the state, Dick Crawford (Paul Cavanagh). Grant reveals the woman to be Nora Moran, age 21, in prison on death row awaiting her execution. Through flashback, Grant relates the sin of Nora Moran, Crawford's mistress, starting as a child of six where young Nora (Cora Sue Collins) is adopted by Mr. and Mrs. Moran (Harvey Clark and Aggie Herring). Following their deaths, the teenage Nora (Zita Johann) faces life of uncertainty. With the help of her good friend, Father Ryan (Henry B. Walthall), Nora goes on her own searching for work until eventually working for the King Brothers Circus under Paulino (John Miljan), a lion tamer. She leaves the circus after Paulino forces himself on her. While in New York, Nora becomes a chorus girl in musical shows, attracting attention of Dick Crawford (Paul Cavanagh), a man with political ambitions. She learns through Grant that Dick has a wife, but continues to show her love for Dick by preventing Paulino from ruining his political career through blackmail. Grant's story further reveals why Nora ended up in prison and awaiting execution. Also in the cast are Sarah Padden, Ann Brody, Syd Saylor and Otis Harlan.
I first saw THE SIN OF NORA MORAN when presented during the after midnight hours on New York City's WOR, Channel 9 back in 1982 under another title, VOICE FROM THE GRAVE. With Zita Johann, best known for co-starring opposite Boris Karloff in THE MUMMY (Universal, 1932), I assumed this to be another horror movie. I have never heard of VOICE FROM THE GRAVE and wanted to see what it was all about. After many years in obscurity, THE SIN OF NORA MORAN (title restored) not only turned up on DVD, but made its Turner Classic Movies premiere May 3, 2020, by this viewing refreshed my memory. Following the original theatrical title and opening credits, THE SIN OF NORA MORAN predated those film elements used frequently during the 1940s through its grand mix of film noir narrative, montage sequences, voice over thoughts, split screen changeover, non-stop underscoring, and slight dose of supernatural overtones. Coming from an independent movie studio as Majestic, THE SIN OF NORA MORAN works surprisingly well through its then unique method of storytelling told during its 64 minutes. Aside from THE POWER AND THE GLORY (Fox, 1933) starring Spencer Tracy, it makes one wonder if there are any other flashback narratives of this sort that have become virtually unknown to film scholars?
Regardless of this newfound rediscovery and interesting premise, it appears Zita Johann's legacy continues to remain more for THE MUMMY than THE SIN OF NORA MORAN. (**)
The Sin of Nora Moran is a 1933 "talkie" picture. Why it's legendary has more to do with the camera effects used, the movie poster, and the use of flashbacks and talk-overs more than the actual plot of the film itself. That's the hard part to put yourself into in the 21st century. You can imagine all the oohs, and aahs, and confusion & shock of movie-goers in 1933, but after almost 90 years it's hard to feel that way yourself. The movie concerns itself with Nora, and the reason she is on death row awaiting execution. There are double and triple twists aplenty. Probably the most shocking thing in the film that I noticed was an implied rape. I can imagine how controversial this must have been back in the day, if I can tell what the implication was meant to be today. Another impressive feat of the movie is how well the story is told, despite all the time changes that happen during the course of the movie. At 65 minutes it doesn't lag at all, and it also serves to show how well an almost lost film can be brought back to life to breathe again on our small screens at home. Worth a watch to experience a revolution in '30's movie-making.
The story really intrigued me on paper, and structurally 'The Sin of Nora Moran' fascinated just as much. Non-linear narratives are not for all but to me this structure has been done very well many times on film. Others have mentioned being drawn into seeing the film from its poster, and no wonder. It is definitely one eye-catching poster that has a real allure that is difficult to resist. So there were no real reservations before seeing 'The Sin of Nora Moran'.
While hopes were extremely high, there was admittedly a little doubt as to whether 'The Sin of Nora Moran' would work well. Having seen my fair share of films etc that had great potential but either doesn't fully live up to it or completely wastes it. Luckily 'The Sin of Nora Moran' did live up to expectations, if not exceeded them, and didn't waste its potential at all. Is it a masterpiece? No. Does it deserve to be seen more and is it a good film? To me, yes on both counts.
A lot works here. One of the most striking aspects of 'The Sin of Nora Moran' is the cinematography, not many pre-code films made this early on in the history of sound pictures had photography this realistic-looking. Stylish and atmospheric absolutely many times, like here, but the camera techniques and the atmosphere created with them was so vivid it was like watching a semi-documentary. The film is very skillfully directed, going at a tight pace while allowing some breathing room, and the scoring and use of sound is not intrusive or over-the-top in my view. Zita Johann gives a very powerful and heartfelt lead performance that makes one care about Nora without making her too obvious.
Rest of the cast do very well too if not quite up to Johann's level with their characters not being as interesting. Alan Dineheart comes off best as the second most interesting character and with some of the film's best lines. In a script that is very thought-provoking with some tense and poignant parts. The film may not look lavish outside of the cinematography, but in my view it does not look cheap and has a suitable amount of grit that suits the bold subject matter well. As well as the cinematography, the other interesting aspect of 'The Sin of Nora Moran' is the structure of the story. A relatively unconventional one at the time, not unheard of but not seen a lot, and an interesting one, not many films at the time had a flashback within a flashback for instance. Also appreciated its boldness, with some ahead of the time themes to address on film and none are sugar-coated. Did find myself caring for Nora and her plight.
Having said all of that, some of the constant back and forth in the first half can feel a little confusing (wouldn't go as far to say that it's illogical though personally) and like one is not quite keeping up always.
Some of it is admittedly melodramatic and schmaltzy early on.
In summary, very good and interesting on the whole. 8/10
While hopes were extremely high, there was admittedly a little doubt as to whether 'The Sin of Nora Moran' would work well. Having seen my fair share of films etc that had great potential but either doesn't fully live up to it or completely wastes it. Luckily 'The Sin of Nora Moran' did live up to expectations, if not exceeded them, and didn't waste its potential at all. Is it a masterpiece? No. Does it deserve to be seen more and is it a good film? To me, yes on both counts.
A lot works here. One of the most striking aspects of 'The Sin of Nora Moran' is the cinematography, not many pre-code films made this early on in the history of sound pictures had photography this realistic-looking. Stylish and atmospheric absolutely many times, like here, but the camera techniques and the atmosphere created with them was so vivid it was like watching a semi-documentary. The film is very skillfully directed, going at a tight pace while allowing some breathing room, and the scoring and use of sound is not intrusive or over-the-top in my view. Zita Johann gives a very powerful and heartfelt lead performance that makes one care about Nora without making her too obvious.
Rest of the cast do very well too if not quite up to Johann's level with their characters not being as interesting. Alan Dineheart comes off best as the second most interesting character and with some of the film's best lines. In a script that is very thought-provoking with some tense and poignant parts. The film may not look lavish outside of the cinematography, but in my view it does not look cheap and has a suitable amount of grit that suits the bold subject matter well. As well as the cinematography, the other interesting aspect of 'The Sin of Nora Moran' is the structure of the story. A relatively unconventional one at the time, not unheard of but not seen a lot, and an interesting one, not many films at the time had a flashback within a flashback for instance. Also appreciated its boldness, with some ahead of the time themes to address on film and none are sugar-coated. Did find myself caring for Nora and her plight.
Having said all of that, some of the constant back and forth in the first half can feel a little confusing (wouldn't go as far to say that it's illogical though personally) and like one is not quite keeping up always.
Some of it is admittedly melodramatic and schmaltzy early on.
In summary, very good and interesting on the whole. 8/10
MAJESTIC PICTURES in their short Hollywood production life 1930-35 made excellent small films using sets at other studios. This meant they could use those facilities and instead spend big on actors and crew. Without studio overheads their input concentrated on finding and using excellent A grade sets and costumes and facilities without owning them. As a result their films had an RKO or MGM look. Actors would be called to make a film at RKO and find it a Majestic title ensuring constant work on a big lot but maybe for a minor player. This allowed Majestic to get A tech and image at a bargain rate and not embarrass their desired actors. However in this film they even excelled themselves and most Hollywood majors studio style in creating a unique melancholy almost- noir nightmare of doomed love and honor... and all the emotional treachery that goes with it. Somewhere between SORRY WRONG NUMBER and DETOUR and overlapping time shift of PULP FICTION, this film THE SIN OF NORA MORAN uses those techniques and techniques of voice over, flashback and sad romance with equal parts hangman's noose, resigned fate and deceit. What a find! THE SIN OF NORA MORAN is a film school textbook of economic film making and could easily stand an upgraded remake today. Excellent! Treat yourself!. Good restored UCLA DVD too. Zita Johan in the lead part as Nora is simply exquisite and her melancholy tone throughout is most effective. Her sin? Being born.
Here is a decent film from Majestic Pictures from 1933. Zita Johann plays a girl in desperate circumstances who gets embroiled in a murder. The structure of this film is quite unique for it's genre. The direction by Phil Goldstone and the performances are excellent. Many offbeat touches are present and there is a decent music score, rare for a little poverty row production like this. Films like this make me appreciative of the little studios that put these out. This probably played small houses or the bottom half of a double bill. It really is well done and the brief running time (just over an hour) goes by pretty quickly. The print I saw running on YouTube was decent, with good picture and sound. The clever montages and effects really add to the enjoyment of this film.
Did you know
- TriviaThe painting for the movie poster is by Peruvian artist Alberto Vargas, who was working in the United States. He later became known for his images of the "Vargas Girls."
This movie's Vargas poster was ranked #2 of "The 25 Best Movie Posters Ever" by "Premiere." IndependentCritics.com named the same Vargas film poster as the #1 poster of all time in their Top 100 List.
- Quotes
District Attorney John Grant: Oh, come on now, Edith. Please, please, let's be honest with ourselves. You weren't thinking any more of Dick than i was.
- ConnectionsReferenced in Citizen Kane (1941)
- How long is The Sin of Nora Moran?Powered by Alexa
Details
- Release date
- Country of origin
- Language
- Also known as
- The Woman in the Chair
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 5 minutes
- Color
- Aspect ratio
- 1.37 : 1
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