***Out In The 1930s Social Film Noir Night- Humphrey Bogart’s “Call It Murder”
Released as Call It Murder
DVD Review
Call It Murder, starring Humphrey Bogart, Warner Brothers, 1938
I have been on something of a Humphrey Bogart tear of late. And when I get on the occasional tear I tend to grab everything of an author, singer, artist, or actor in sight. And hence this review of very much lesser known Humphrey Bogart film, Call It Murder. If you are looking for the Humphrey Bogart of To Have or Have Not, Casablanca, The Big Sleep or even The Petrified Forest then you will be disappointed. Bogart plays a relatively minor role as, well what else, a second- rate cheap hoodlum whose heading out of town fast, or so that is his plan. So no one should be offended if you pass this one by.
Pass by is what I originally intended to do as well except when I thought about it this film is actually a very good example of the kind of social film critique that was popular and produced during the turbulent and trying 1930s. The subject here is the death penalty, its application, and its basic appropriateness in an evolving progressive society (or that has pretensions to civilization). The plot line centers on a woman who has killed her abusive husband when he was going to run out on her leaving her high and dry. At trial the foreman of the jury, a self-righteous and upright citizen, persuades his fellow jurors that she is guilty of murder one, and hence headed for the electric chair. Since there was no “battered person” defense then she was convicted and sentenced to die.
The dramatic tension of the film comes when that self-righteous juror is bombarded with pleas from all kinds of sources to call for sparing her life. He maintains his stance and she is executed. And here is where Bogie comes in. He has been seeing the juror’s daughter, she has fallen in love with him, and as mentioned before, he is ready to fly to the coop. Naturally she is ready to move might and main to keep him in the coop. Well one thing leads to another as they do with thugs and he is shot to death. She thinks that she has done it in a rage at his leaving. She runs home to dear old dad and tells her story. Hey, she is up for murder one and the chair too, right? No way in the end of course but the old man has to confront, or rather we have to confront, that little moral dilemma when thing hit just a little too close to home.
Good thoughtful social critique on the death penalty, agreed? Yes, although I should note that this film is one of those 1930s Theater Guild productions which tended, as this film, does to be rather heavy-handed and didactic in making its important point. Thus the dialogue, the staging, and the acting are rather stilted for today’s audiences. Still it made that nice social commentary. Just don’t see for the Bogie part, okay.
Released as Call It Murder
DVD Review
Call It Murder, starring Humphrey Bogart, Warner Brothers, 1938
I have been on something of a Humphrey Bogart tear of late. And when I get on the occasional tear I tend to grab everything of an author, singer, artist, or actor in sight. And hence this review of very much lesser known Humphrey Bogart film, Call It Murder. If you are looking for the Humphrey Bogart of To Have or Have Not, Casablanca, The Big Sleep or even The Petrified Forest then you will be disappointed. Bogart plays a relatively minor role as, well what else, a second- rate cheap hoodlum whose heading out of town fast, or so that is his plan. So no one should be offended if you pass this one by.
Pass by is what I originally intended to do as well except when I thought about it this film is actually a very good example of the kind of social film critique that was popular and produced during the turbulent and trying 1930s. The subject here is the death penalty, its application, and its basic appropriateness in an evolving progressive society (or that has pretensions to civilization). The plot line centers on a woman who has killed her abusive husband when he was going to run out on her leaving her high and dry. At trial the foreman of the jury, a self-righteous and upright citizen, persuades his fellow jurors that she is guilty of murder one, and hence headed for the electric chair. Since there was no “battered person” defense then she was convicted and sentenced to die.
The dramatic tension of the film comes when that self-righteous juror is bombarded with pleas from all kinds of sources to call for sparing her life. He maintains his stance and she is executed. And here is where Bogie comes in. He has been seeing the juror’s daughter, she has fallen in love with him, and as mentioned before, he is ready to fly to the coop. Naturally she is ready to move might and main to keep him in the coop. Well one thing leads to another as they do with thugs and he is shot to death. She thinks that she has done it in a rage at his leaving. She runs home to dear old dad and tells her story. Hey, she is up for murder one and the chair too, right? No way in the end of course but the old man has to confront, or rather we have to confront, that little moral dilemma when thing hit just a little too close to home.
Good thoughtful social critique on the death penalty, agreed? Yes, although I should note that this film is one of those 1930s Theater Guild productions which tended, as this film, does to be rather heavy-handed and didactic in making its important point. Thus the dialogue, the staging, and the acting are rather stilted for today’s audiences. Still it made that nice social commentary. Just don’t see for the Bogie part, okay.
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