The Woman Condemned

Radio singer Lola Lane goes on vacation, leaving ardent admirer and station manager Jason Robards Jr. In the dark as to her plans. A few days later, reporter Richard Hemingway spots Claudia Dell in night. She was trying to break into an apartment. He tells the judge she's his fiancee and it was her apartment...... she's a terrible practical joker. So the judge marries them. Soon enough, Miss Dell breaks into the apartment, spots Miss Lane dead, shrieks, and is apprehended and found guilty of murder.

Dorothy Davenport's last movie as director has some nice touches -- I was taken by the other defendants in night court, and cameraman James Diamond had worked her before -- but she struggles in vain with a lurid and stupid screenplay written by the always lurid and stupid Willis Kent. The entire series of events in the film, the set of disasters that overwhelm both women, is actuated and worsened by their unwillingness to tell anyone why they are doing what they do, despite their innocent intentions.

Editor Roy Luby does a fine job of keeping the pace up, despite the slow pace of dialogue, but the script sinks everyone. As William Wyler once noted, "It's 90% you get a good script, and 10% the actors. There's nothing else in it." I think that's because Wyler provided everything else; nonetheless.....

Plot-- A popular radio performer mysteriously departs her program, only to turn up murdered, while an innocent female detective is held for the crime. Will her reporter boyfriend be enough to prove her innocence.

Thanks reviewer asinyne for filling in a few crucial plot holes. I think a lot of folks, including myself, were flummoxed by the holes because the script is sloppily constructed, while director (Wallace) appears either unaware or unconcerned. Given the programmer's bottom-of-the- barrel provenance (Kent Productions), that's not surprising-- who knows what the production schedule was like. Anyway, the concept of a female detective and a corpse returning to life is an interesting one. And I suspect that a non-penurious Warner Bros., with a better cast and a rewrite, could have turned the material into a satisfying B-movie instead of the head- scratcher it unfortunately is.

This isn't the clearest story ever plotted. I know what happens, but tying to explain it with out giving away too much is going to be rather difficult. Basically a woman takes a "vacation" from the radio program on which she is the star. Its not explained why, though her overly emoted good bye to her would be boyfriend suggests that there is an ominous reason. At some point she is killed and an innocent woman is blamed. Will the real killer ever be caught? What was the secret that forced the dead woman from the radio? Will we remain awake long enough to find out? Simple this is not. This is a complicated tale of murder thats interesting despite the fact its very talky, over emoted and just a tad loopy. Its the type of movie that keeps your interest simply because you want to know whats going on not because its very good. Actually it was so dull and talky that it was putting me to sleep, however I had to fight it because I had to know what was going on. If you want to see a movie that makes you stay with it to the end because you have to see whats going on give it a try. If you want to see a film that actually good try something else.

This picture held my interest from beginning to end. The more I watched, the more absorbing it became. I felt betrayed by the ending, but by that time it was too late as the picture was nearly over. This was an excellent effort by a Poverty Row company and an excellent Directorial effort by Mrs. Wallace Reid, which almost overcomes some gigantic plot holes.

It was a fascinating story which contains several plot turns and twists and I couldn't turn it off. I thought Richard Hemingway was an attractive lead and would like to know more about him. IMDb notes his career was very short and his birth/death dates are unknown. I was amazed to discover how much Jason Robards Sr. resembles his son - or perhaps the other way around.

I gave this film a rating of 7, and our current IMDb rating does not do it justice. Now, about that ending...

I won't even try to provide a synopsis of the story. This is one of those mystery thrillers in which everything is thrown into the pot to make the story as intriguingly attention-grabbing as possible. And then having propounded a successfully unusual and highly suspenseful set of situations, the writers throw creativity to the wind in the last five minutes by solving the mystery in some clichéd manner that leaves the most purblind audience breathless with anger and disappointment. At least the elaborately constructed plot doesn't all turn out to be a dream, but the device used here is almost as hackneyed and almost equally a letdown.

Nonetheless, by the extremely humble standard of Willis Kent bottom-of-the-rung-even-for-Poverty-Row productions, this movie is certainly a cut above the average "Z"-grader. It was the last film directed by Mrs Wallace Reid who has tried very hard (and very successfully) to create atmosphere and production values on an extremely meager budget. Given the sort of studio support and largess that Dorothy Arzner worked with, Mrs Reid would undoubtedly have done equally well, if not better. Yet feminists give all their attention to Arzner and none at all to Mrs Reid. Even the Arzner biography in IMDb claims that Arzner "was the only woman director during the Golden Age of Hollywood's studio system during the 1920s and 1930s." (Other Davenport films presently available are The Road to Ruin and Sucker Money).

A major virtue of The Woman Condemned must be the fine performances provided by every member of the cast from charmingly charismatic hero Richard C. Hemingway (who never got anywhere), poorly photographed Claudia Dell (who had the shortest career as a major star on record — less than a year) and one-song Lola Lane, through to Neal Pratt's nice cameo as a sarcastic judge