Laissez-nous vivre

We watched this film for the very first time last night and what a surprisingly good film it is. Of course with a young Henry Fonda in the lead part, we should have known. Fonda plays 'Brick' Tennant, a young man who is working as a taxi driver and saving hard to marry his sweetheart. Through a series of co-incidences and the lack of a hard alibi, he is suspected - and eventually found guilty of - robbery and murder. It's a classic 'wrong man' thriller, made all the better by the careful character introduction and set-up early on in the film. If the film has a message, it is that the death penalty is a dangerous thing, especially when careers and promotions are on the line. There's no slack in the film, and its short 68 minute running time whizzes by. A little gem of a film, and a story which Fonda would tell again in Hitchcock's 'The Wrong Man' of 1956, another cracker.

This is a dark tale about two likable people. Well, three, if we count Ralph Bellamy: He is tossed at us in medias res and is not convincing as a police lieutenant.

The young lovers are Maureen O'Sullivan and Henry Fonda. He drives a cab. She works in a restaurant. He wants them to marry and is planning to buy a cab and maybe a few, to start a fleet.

Two decades before he starred in the Hitchcock film of this name, though, he is the wrong man. Not for the adoring (and lovely) O' Sullivan. No, he is erroneously arrested for a robbery -- and falsely identified by a pack of jackals who'd been at the crime scene.

One thing I noticed is the response O'Sullivan has when he takes her to look at some nice little homes. She's thrilled and grateful. It's amusing to contrast this to the scornful way the Audrey Totter character acts when Richard Basehart, her unwisely adoring husband in "Tension," takes her to see a little house in the suburbs he's picked out for them.

Lucien Ballard was a marvelous cinematographer -- here and always. This movie has the feel of German Expressionism, which includes a Weill-like musical score. But I'm not sure how much of the Expressionism is intended and how much is a matter of budget: For example, there are several scenes in which snow falls. The snow has a highly unreal look. It really LOOKS like soap flakes. And in an early scene when O'Sullivan humors a drunk at the restaurant where she works, the other diners laugh in the oddest way: We're meant to feel they take it in a goodhearted manner. But it sounds for all the world like a laugh track or the audience at a vaudeville show.

The change in Fonda is very impressive. I really empathized with his feeling at the start that everything is going his way; that the world is a wonderful place to be. If this were a musical comedy, a song to that effect would have followed. But Fonda didn't make musicals. It's pretty clear that he's going to be disabused of this notion; I've been there too. And he is indeed.

In Henry Fonda's film career, this one is under the radar, and that's unfortunate, because it'a fantastic film that examines the system of law & order, and how it can screw up. There is a lot of grit and reality here, as often in real life, innocent people are convicted, and even executed. Often the state might have some reasonable suspicion that they may not be guilty, or may know their case isn't as strong as it should be, but they pursue and still get that verdict.

Eye witness testimony can often be a problem too... there have been cases where the science pointed in a different direction, but a jury went for an eye witness, and thus they were convicted. For example, how many people are in prison today for a rape they didn't commit? More than you might want to know.

That's what this movie makes you think about, as the system nearly leads them to their death. Henry Fonda may be a white man, but you could put any man or woman in this story and it still works, they can be black, or white, or any other race, and it still works.

Because this story reveals the truth, the system has flaws, the system is not perfect. Innocent people live out their lives in prison, or are executed. In 1939, the year this movie came out, there were 161 executions. How many of them were actually guilty? That question, is the very power of this film.

Cab driver Brick Tennant (Henry Fonda) is a righteous man. He plans to marry his lovely waitress Mary Roberts (Maureen O'Sullivan). His friend Joe Linden is down on his luck and Brick gives him a job driving his newly purchased cab. A criminal gang uses a cab to rob a cinema. A man is killed. The police round up the cab drivers around town. Brick and Joe get mistakenly picked in a lineup. Mary is Brick's alibi but the police doesn't believe her. The men are convicted with only the eye witnesses' testimonies despite Brick's faith in the system. Mary vows to find the real robbers and exonerate her beloved.

This is based on a story about a real trial. It's actually a very harrow tale of the wrongly convicted. It may come off as melodramatic especially with the coincidences needed to get to a happy ending. Some of it is written melodramatically. Holding it together is Henry Fonda's boy scout nature and Maureen O'Sullivan relentless conviction. The two Hollywood legends add the needed gravitas to the pulpy material. It's a little over an hour. It's a short theatrical movie. It's a B-movie but it has the power of an A-movie.

This was a very good film even though I initially had relatively low expectations. Part of this is because just before this, I saw a passable Henry Fonda film (SLIM) and I think it made me remember that like any actor, Fonda could make mediocre films. But LET US LIVE! is anything but mediocre, since it has a very thought-provoking script that might just get you to re-evaluate what you think of the death penalty. While I am generally in favor of it when there is absolutely no doubt, this film strongly and competently makes the point that innocent men CAN be convicted wrongly and that the system might be rather indifferent to correcting this even when doubt as to the justification for the conviction arises. Again and again throughout the film, supposedly good men seem indifferent to the possibility that Fonda and his friend could be innocent--and they convince themselves that the system cannot make mistakes or that people must allow the system to work everything out in the end! In spite of this indifference, Maureen O'Sullivan and Ralph Bellamy work their darnedest to prove that the men were wronged.

As I said, the plot is very well-constructed and thought-provoking. While at times the performances might seem a tad overly melodramatic, considering what's at stake, it was forgivable. An excellent drama and one that makes you think. About the only negative was that O'Sullivan's Irish accent seemed a bit out of place, though her performance and Fonda's were just fine.