What makes it different from others?

everything you have heard about this movie is true.

A waste of 90 minutes of my life

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

LET US LIVE (Columbia, 1939), directed by John Brahm, based upon the story by Joseph E. Dinneen, is an underrated melodrama starring Maureen O'Sullivan and Henry Fonda for the first and only time. Being one of many social dramas involving an innocent man, in this instance, two honorable citizens sent to prison for a crime for which they are innocent, LET US LIVE certainly falls into the class of earlier, yet stronger efforts of FURY (Metro-Goldwyn-Mayer, 1936) starring Sylvia Sidney and Spencer Tracy, and THEY WON'T FORGET (Warners, 1937) featuring Gloria Dickson and Edward Norris. Even the similar titled, YOU ONLY LIVE ONCE (United Artists, 1937) where Sylvia Sidney and Henry Fonda star as victims of circumstance, LET US LIVE falls closely to the category of MGM's FURY, but without touches of mob violence and Fritz Lang's dark and tense direction.As with FURY, LET US LIVE starts off with amusing moments, character introduction and plot development before getting to the purpose of its title. Set in the town of Springdale, Mary Roberts (Maureen O'Sullivan), a cashier at a local luncheonette, is engaged to marry John J. "Brick" Tennant (Henry Fonda), an ambitious young taxi driver. Prior to their upcoming wedding, Brick buys his own taxi as a start for his new business, Tennant Transportation Cab Company. Because his friend, Joe Lindon (Alan Baxter), is out of work with no place to go, Brick not only offers him his apartment as a place to stay but a job working for him driving his taxi during his off hours. The next day, Brick takes Mary to church, awaiting outside during her time of prayer for her deceased mother. Nearby, a crime is being committed where a watchman is killed in front of witnesses. Three robbers, one of them named Joe (George Lynn), escape in a high speed taxi passing the church. As the chief of police (Henry Kolker) cracks down to solve the latest crime problem, various cab drivers are investigated and questioned, but only Brick and Joe are arrested and identified in a police lineup by key witnesses as the robbers. Regardless of Mary's testimony on the witness stand, the jury finds Joe and Brick guilty, with the judge passing sentence for prison time and execution. It's now up to Mary, with the help of Police Lieutenant Everett (Ralph Bellamy), to work tirelessly proving the innocence of condemned two men before it's too late.Other members of the cast include Stanley Ridges (District Attorney); George Douglas (Ed Walsh); Philip Trent (Frank Burke); Martin Spellman (Jimmy Dugan); Charles Lane, Clarence Wilson, Harry Holman and Ray Walker.Although John Braham is no Fritz Lang nor master of suspense, Alfred Hitchcock, this virtually unknown or forgotten director does provide some good touches of camera angles and dark visuals usually associated with themes of this category. The transformation of Fonda's character during the latter half of the story is realistically done. Of all the Fonda films in his entire career, LET US LIVE happens to be his shortest in length (66 minutes). With situations depicted that could happen to anybody, Fonda would play an innocent man wrongly accused and convicted once more, to better advantage, under Alfred Hitchcock's direction in THE WRONG MAN (Warner Brothers, 1957), another fact-based story. While the Mary role might have been played in the usual manner of Sylvia Sidney, who specialized in these character types through much of the 1930s, Maureen O'Sullivan demonstrates her ability in heavy dramatics, showing she's not just plain Jane from the popular "Tarzan" adventure series she did on her home base for MGM (1932-1942). Alan Baxter, who began his film career playing a tough hood, breaks away from such type-casting this time around, while Ralph Bellamy assumes the arm of the law rather than the guy who loses the girl as he so often did starting with the comedy, THE AWFUL TRUTH (Columbia, 1937) starring Irene Dunne and Cary Grant, for which he was nominated as Best Supporting Actor.Not as well known as Fonda's 1939 20th Century-Fox releases of JESSE JAMES, YOUNG MR. LINCOLN and DRUMS ALONG THE MOHAWK, overlooking some lack of logic an/or unbelievable coincidences, LET US LIVE is certainly fast moving, to the point, and holds interest throughout. Aside from numerable cable television broadcasts in past years, Cinemax (1987); Turner Classic Movies and GET-TV (with commercial breaks), LET US LIVE is also available on DVD.(***)

It's always good watching Maureen O'Sullivan before she went on to act in the 'Tarzan' films, and it is nice seeing her act alongside of Henry Fonda. It would've been good to see her in a film with Cary Grant. This film has shades of 'The Wrong Man' which Fonda would do seventeen years later with Hitchcock, but 'The Wrong Man' is the better film. Unfortunately, I don't think this is a good film even though it has a good cast. Whereas 'The Wrong Man' was cinematic, this film is not. Fonda didn't need to scream and shout in 'The Wrong Man' because you knew exactly what he was feeling through the music and Robert Burks' cinematography. Here, Fonda has to scream and shout to let you know what he is feeling. That's not cinema. That's theatre.

Maureen O'Sullivan and Henry Fonda star in "Let Us Live," a 1939 film also starring Ralph Bellamy. Fonda plays a cab driver engaged to O'Sullivan. He and the friend who is staying with him are arrested for a robbery/murder after being identified by witnesses in a lineup. They are convicted at trial and sentenced to death.It falls to the investigating detective on the case (Bellamy) and O'Sullivan to work to clear the two men. Meanwhile, the two innocent men rot in jail with the clock ticking quickly toward execution.This has to be the fastest trip to the gas chamber in history - we've all read the stories of people languishing on death row for 18 years. It seems like these guys only had a couple of weeks before their execution date.The idea behind this film, though, is solid: The police believe they have the perpetrators, the DA doesn't want anything rocking the boat (even a similar robbery while the two men were in prison), and refuses to stay the executions.I can never get over how much Jane Fonda looks like her dad when I see Fonda in early films. He gives an excellent performance here, that of a bitter, angry man convicted of something he didn't do. I always felt that Fonda as an actor became more internalized as he aged - I prefer the more emotional performances of his. O'Sullivan is energetic and determined as his fiancée, and Bellamy is good in the supporting role.A dark, sobering film about the dangers of rushing to judgment.

Very dark early-noir about a man wrongly convicted of murder (Fonda, rather overdoing the nice-normal-guy routine at the start) and sent to Death Row. The whole premise is a little contrived, and it's hard to believe that so many witnesses would band together and falsely identify him. The plot machinery that clears him--involving his girlfriend, Maureen O'Sullivan, and an honest cop who quit the force, Ralph Bellamy--stretches the outer limits of credibility, too. But this is an interesting, strange little B, way more cynical and damning of the system than most studio product of the time. It convincingly argues that the law has an interest in upholding a verdict so severe that even incontrovertible contrary evidence wouldn't allow it to turn back, and its happy ending isn't really happy. Yes, he gets cleared and he gets the girl, but his faith in the system is ruined forever, and he's a social outcast. It feels a little like "I Am a Fugitive from a Chain Gang." And it's well shot.