Charming and brutal

The movie is wonderful and true, an act of love in all its contradictions and complexity

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

There are many scripts that mine the "common person mistaken for a celebrity" premise, but this one outshines most of them. That's because its script is full of clever twists that build upon the initial premise.It is also due to the talents of Edward G. Robinson, who plays both major roles in this film. Sometimes both characters share the screen. This is accomplished through various techniques that are very effective, but Robinson's acting really sells it.On one hand, he plays a very mild-mannered, timid man. And he also portrays a heartless crime boss. Coincidentally, they look the same, providing each character with both problems and advantages. Jean Arthur, as usual, is excellent in this comedy. Director John Ford shows his versatility with this film, guiding the actors and the story expertly, resulting in a very enjoyable film.

Whole Town's Talking, The (1935) *** (out of 4)A timid, shy and all around weak store clerk (Edward G. Robinson) gets mistaken for a harden gangster (Robinson) but his new fame allows him to store writing a column in a newspaper about how gangster are weak without their guns. Soon the gangster shows up wanting more than just a little help. As a comedy this movie is a real masterpiece but as a drama, the final thirty-minutes or so really bring down a lot of the great moments. While watching this Columbia movie you can't help but wonder if this was originally meant to be directed by Frank Capra as it has his screenwriters and the small town story certainly seems like something you'd get from a Capra and not someone like Ford. To his credit, Ford does a great job with the comedy and really delivers one of the funniest movies of the 1930's. The problem happens in the third act when it really turns to too much of a gangster film and the laughs are pretty much forgotten. What holds both sides together is the terrific performance by Robinson. The way he plays the timid clerk is just downright hilarious and this includes a masterfully acted interrogation sequence where Robinson is nearly brought to tears because he's so scared. Seeing a tough guy like Robinson acting scared was just hilarious and one actually starts to feel sorry for the guy because it appears he's about to die. Robinson is also great in his second role as the gangster as he's as tough as ever and does manage to come off quite demanding and threatening. Jean Arthur is wonderful as well and adds many great comic scenes including her own interrogation where she keeps admitting to crimes that she has nothing to do with or even knows about. Arthur Hohl, Arthur Byron, Wallace Ford and Donald Meek round out the supporting cast. You can even see Joe Sawyer playing one of Robinson's goons. Again, I didn't care for the final act of the film as the comedy starts to not happen but that doesn't take away from everything at the start of the movie. Robinson has never gotten the credit he deserves as an actual actor, which is a real shame but this film allows for both sides of him to be highlighted and to great effect.

This movie is (correctly enough) billed as a "crime comedy" but that tone is not entirely maintained throughout the film, and to good effect. For one thing, Robinson (as "Jonesy") emanates a very palpable feeling of repression and yearning for a more romantic existence throughout the film, and this is underscored by his poetic ambitions, and the fact he named his cat "Abelard" for just two examples.But the most powerfully emotional scene in the film - and the one which most breaks the comedy constriction - is when Mannion is finally gunned down by his own men, entirely at "Jonesy's" direction. It is not a moment which is let off with comedic ease, and this is marvelously portrayed in a fleeting closeup of Robinson (as "Jonesy") as the gangs carts Mannion off to another room - the camera cuts away to a shot of "Jonesy's" face, and what one sees there (underscored by an anguished bark) is a true second of real anguish and guilt over what he has just be responsible for. Although Mannion was a murderer (and this "crime" of "Jonesy's" is partly in response to his discovering Mannion was trying to gt him killed), the murder is not tossed off without emotional undertones of true anxiety. It is a great sequence, possibly entirely a matter of Robinson's skill and feel for the character.The comedic moments go down easy, Jean Arthur is at her tough girl best, and the film abounds with the "usual suspects" of Hollywood character actors. It is well worth viewing as a light farce. But - for this viewer - that one quick brush with actual internal pain somehow puts the rest of the film in a briefly glimpsed and different universe of real human morality. If for no other reason, (and there are many) that one tiny moment makes this film highly recommendable.

Enjoyed this 1935 Classic in which Edward G. Robinson plays a duel role as Arthur Ferguson, (Jonesy) and Killer Mannion. Arthur Ferguson is an ordinary law abiding citizen and is rather a very meek person. Unfortunately, Ferguson looks just like a gangster named Killer Mannion who is a harden criminal and they both seem to have the same facial appearance. Jean Arthur, (Wilhelmina Clark) gives a great supporting role along with a great cast of veteran actors. There is a split screen between Arthur Ferguson and Killer Mannion and Edward G. Robinson gives an outstanding performance in 1935 which was not seen very often in films during those days. Killer Mannion tries to murder Ferguson in a bank hold up but things get out of hand. There is plenty of drama and comedy. This is truly a great Classic Film. Enjoy