Karry Best movie of this year hands down!

Sexyloutak Absolutely the worst movie.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

csteidler Suave newspaper editor Melvyn Douglas proudly runs the Guardian, a noble institution that has served the public for 75 years. But look out—tabloid owner Douglas Dumbrille has just purchased the Guardian and intends to kill it to increase his own rag's circulation. Seems like a serious newspaper melodrama....But the picture quickly morphs into a detective story when sharp- eyed Douglas stumbles on a $100 bill that he recognizes as a marked bill used as ransom money in a recent high profile kidnapping case. He sets out to trace the bill's journey, hoping it will lead him to the kidnappers.The search for the bill leads Douglas through an interesting series of vignettes….Each clue he follows leads him to a new stop where his visit has a strange and surprising effect (an imminent wedding is abruptly called off, for example). A post-funeral family gathering is the film's most somber and serious moment.Douglas also manages to connect with schoolteacher Louise Platt, who witnessed the kidnapping. Although the police have her school pretty well surrounded specifically for her protection, clever Douglas manages not only to sneak into the school and find her, but to talk her into sneaking out with him to go chase the crooks….Okay, so it gets a little far-fetched at times. However, despite some silliness the picture is not only entertaining but fascinating—even if it's not particularly good or believable, somehow you care what happens. Melvyn Douglas and Louise Platt are both easy to watch, and the supporting cast is full of fine performances from MGM's great roster of character actors.

Robert J. Maxwell There aren't too many surprises in the casting. Melvyn Douglas is the dedicated editor of a newspaper about to be closed by the ruthless owner. The day before doomsday he stumbles across a counterfeit bill that was involved in the unsolved kidnapping of a child and is determined to track down the source of the bill. (No doubt the Lindbergh case of a few years earlier was still fresh in the public's mind.) He's tipped off by the friendly bar tender. Take a guess at the bar tender's ethnic background. When he hears about the paper's forthcoming closure, he tells Douglas, "I'm THAT sorry." The minor characters are all well developed, especially the first person connected to the counterfeit bill, a little man who is about to be married to a chinless cartoon of a wife with a voice like an air raid siren and whose hefty future mother-in-law looks like the spawn of Mighty Joe Young. The dialog is both functional and colorful. An opratic soprano has "a nice voice and a nice heart -- like Grant's Tomb." Later she's described as "smooooth, with a heart like a banana split." The film isn't carelessly done.Douglas Dumbrille is the Philistine newspaper owner who cares only about money and nothing about tradition or truth. Zeffie Tilbury is the paper's oldest employee, a humble but spunky proof reader. We need more of them in our schools.I guess Louise Platt as the endangered witness to the kidnapping is a surprise. She's a pretty woman with an impish nose and a pouty expression. I never noticed that she had such a marked overbite when she played the aristocratic officer's wife in "Stagecoach." She could win a corn-eating contest at an Iowa picnic. She has an undeniable physical appeal but I don't know about her acting range. She only gets to smile once, at the very end of the story, and one can almost hear the creaking of long-dormant facial muscles.It's lively and coherent, in contrast to so many dull movies from minor studios that are now in the public domain. I got a kick out of it.

kidboots Leslie Fenton, as an actor, had been around since the late 1920s, mostly as not very likable gangsters or crooks and because he was never the star always disappearing about half way through the movie. I always liked him, mainly I think because he happened to win the heart of one of the most beautiful and unusual of the early thirties actresses - Ann Dvorak. He stopped acting in the late thirties (one of his last roles was in "Boy's Town") and had a brief period of directing shorts. "Tell No Tales" was his first feature and his best.Melvyn Douglas plays Michael Cassidy, a managing editor of a reputable newspaper "The Evening Guardian" that ceases publication on it's 75th anniversary. It has been closed down by Matt Cooper (Douglas Dumbrille), owner of a rival newspaper which happens to be a "yellow" tabloid. Despondent at the thought of all the staff losing their jobs he cashes his pay check at the local bar and receives one of the $100 bills used in a kidnapping ransom - a case that is sweeping the city. It is the first break in the case and Michael is determined to break it so the paper can go out with a bang!!!Ellen Fraser (Louise Platt) a young teacher at a private school was the only witness and is under 24 hour police protection. Cassidy manages to squirrel the girl away from her "prison" but while they begin to hunt for the kidnappers (by tracing the path of the $100 bill) they, in their turn, are followed and it isn't long before Ellen disappears only to re-emerge a few minutes before the ending. Cassidy then plunges into tracing the bill's journey, from a disgruntled would be bride groom (and according to the fight that ensues when Cassidy leaves, never to be!!!) to a wealthy society wife with something to hide ("you told me you were through with him" he husband (Halliwell Hobbes) hisses!!) to a confronting and touching Afro-American wake. It was a dramatic breakaway from the stereotypical depiction of black people at that time. Mantan Moreland was one of the guests and it gave a poignant acting opportunity to Theresa Harris and the marvellous old Griffith actress Madame Sul-te-Wan ("Hoodoo Ann") as the grieving mother.I liked the way the plot led to some tantalising, unrelated gossipy bits (the bridegroom and the society girl) - we never find out whether Hobbes kills his wife as he lunges for her, the camera just continues with the main story. I thought the movie was exciting and fast paced. I also liked the fact that two of the co-stars, Douglas Dumbrille and Gene Lockhart, two very oily villains of the 30s, pop up in quite ambiguous roles - especially Lockhart as Arno, a quietly spoken, canary loving gambling den proprietor!!

goblinhairedguy This remarkable little action-drama follows newspaper editor Melvyn Douglas as he traces back the ownership of a $100 bill, used as ransom money in a notorious kidnapping case, from hand to hand. The clever premise is absorbing in itself, but also serves as an excuse for a series of dramatically charged vignettes revealing the complex lives of a myriad of well-drawn, idiosyncratic characters, as the investigation descends the social scale. Director Leslie Fenton packs a wealth of detail into the 60-plus minute running time, keeping the camera and actors moving at all times, but knowing when to pause for effect. Many have remarked on the moving sequence of a black boxer's wake (surprisingly dignified and emotional for the time), but just as stunning is the chilling look of murderous intent in the ancient Halliwell Hobbes's eyes as he learns that his much younger wife is being unfaithful. The cast is filled with veteran bit players (including Mantan Moreland in a don't-blink cameo), there are a few nice comic touches, and the small-city newspaper office scenes are authentic looking. By the way, Seinfeld fans should note that Douglas must have been the original "close talker" as he blusters about imposing himself on people's lives.