AFRAID TO TALK

Rotorua Morning Post, Volume 2, Issue 478, 11 March 1933, Page 2

AFRAID TO TALK

GRAPHIC TALKIEi POINTS TRAGIC FINGER AT CITY LIFE. iGRAND ON MONDAY. A dramatic screen answer to many pertinent questions American citizens are askimg, a.bout rule hy political parties is contained in Universal's timely picture, "Ai'raid1 to Talk," which will open on Monday, March 13, at the Grand Theatre. Screened from the powerful drama by Albert Maltz and George Slclar, "Merry-Go-iRound," it .presents a group of mnnicipal oifice holders under the dictates of a party boss, who find themselves forced by a clamoring press and publie to gain a conviction for an underworld murder. Happening orf the eve of an important election, the party leaders decide it necessary to act, but are suddenly thwarted wh'en, (the Igangisjter mwti.derer produces evidence which will bare.the graft and bribery of the office holders. In desperation the party attempts to "railroad" An innocent bell hoy for the crime, And when pub-lic-minded citizenis t instiigiate An investigation, complications develop so rapidly that the. film proceeds toward its powerful climax with one intensely dramatic crisis after anoth'er. Sidney Fox, UniversAl's talented dramatic actress, enacts the featured feminine lead as the loyal wife: of the (bell hoy who i9' crucified fot political purpo'ises, played hy Eric Linden. Linden justifies the extraorainary dramatic talent he possesses in the sympathetic role. Tully MArshA.ll, as the district attorney, Louis Calhern as his isuave a&sistant, Mayo Methot as the .traitor underworld queeli, and Edward Arnold as the gang leader provide other highlights of the^unusually vivid .picture. Berton Churchill Geoi'ge M'.eeker, Rohert1 Warwick ■ahd other screen favourites are. in prominent support. Edward Cahii,. one of Hollywood's most sensational young direetors, noted for his swift tempo and finesse in the direction of mod'ern realistic drama., directed "Afraid to .Talk."

ed, falls upon Matt Brown,. assistant cashier, played iby Pat O'Brien. The job was done at midnight, and at that hour the crafty cashier had arranged an alibi for himself hy inducing Huston's wife to go to his bachelor apartment after attending the theatre. O'Brien finds them there together. The robbery of the bank is exaigr gerated by malicious goissip to> the sum of several million dollars. Rumour spreads throughout the city that the bank wa,s "on the rocks" — that it would he forced to close. Immediately thousands rush to withdraw their deposits. Meanwhile, Matt Browii, who has been unfortunate enough to • have served a prison sentence before th'e trusting banker gave him a chance to go straight, refuses to tell where he was durinig^ the time of the hank robbery. He does not want to tell what he knows about .the wife of his "boss," for he knows that it would break the 'heart of the man who has given him a eh'ance to make good. The crime is solved, however, in draniatic fashion — and the cashier is caught trying to make a getaway. Matt and •his sweetheart get on the telephones and call .up iscores of ■ sma.ll mer chants whom .Huston has aided ffnancialiy, asking them. to maice new deposits. They rush to the bank with ftiiids, and their aggregate wealth saves the hank from going under. At the same time Huston finds that his wife truly loveis him, and that all is well. The big hank scenes, are extremely interestiiig and faithfui ih detail. . Besides the work of the principals, there arg striking minor performances by a score of frequently seen character playGXS. . , . i The direction hy Rrank. Cai>ra, whe produced isiich hits as "Suhmarine," "Dirigible," "Fligiht" and "Ladies of Leisure," is superh.