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Crime novelist Dashiell Hammett is best-known for penning THE THIN MAN and THE MALTESE FALCON and, like the latter's original 1931 film version was completely overshadowed by John Huston's classic 1941 remake, the same fate practically befell another of his filmed works. In fact, the original 1935 version of THE GLASS KEY has been all but impossible to see until recently, while its 1942 remake was easily available on DVD in Europe. Although I do own a copy of the latter, it has been ages since I watched it last and cannot sensibly compare the two versions now; having said that, the credits for the original – director Frank Tuttle (who would later make a star out of Alan Ladd in THIS GUN FOR HIRE and whose next picture, ironically enough, was the aforementioned remake of THE GLASS KEY!), stars George Raft (this obviously made him the first choice for Sam Spade in the remake of FALCON, but he turned it down to Bogie's eternal benefit!), Ray Milland and Ann Sheridan, plus character actors Edward Arnold, Guinn Williams and Irving Bacon – are sufficiently interesting to merit its re-evaluation as a worthy precursor to the noir subgenre.

Raft is influential lawyer Arnold's right-hand man who, carrying on from his own star-making turn in Howard Hawks' SCARFACE (1932), has an eye for his boss' sister; when the former decides to become the ally of the local political candidate (because he too has his heart set on the latter's sister!), everything starts to go wrong for him, especially after turning down the defense of a drunken motorist from a manslaughter charge and when setting his foot down on the nightclub owned by the local underworld kingpin. However, it is the politician's inveterate gambler son Milland who proves to be the catalyst for disaster as, ostensibly pursuing the affections of Arnold's daughter, he is truly after milking the girl out of her funds to satiate the aforementioned criminal with whom he is indebted. This state of affairs naturally pits Arnold and Milland at loggerheads and it is up to the quick-witted Raft to shuffle his boss out of a murder rap when Milland's corpse is found lying in the gutter one night after the latest scuffle with his prospective father-in-law!

At one point in the narrative – in a brutal sequence anticipating the later ones featuring Dick Powell's Philip Marlowe and Ralph Meeker's Mike Hammer in, respectively, Edward Dmytryk's MURDER, MY SWEET (1944) and Robert Aldrich's KISS ME DEADLY (1955) – Raft suffers greatly at the hands of the criminal's chief henchman Williams (effectively cast against type) and, eventually, ends up in hospital where he is nursed by a pre-stardom Sheridan. Yet, despite having also been assaulted by a massive dog, he goes back for more and, ultimately, defeats the thug by turning him against his own employer. The identity of the real murderer is not all that mysterious in itself but the journey to the denouement is an exciting ride and, indeed, it is kickstarted by a spectacular car-crash right in the very opening scene! For what it is worth, the characters of Arnold's mother and card-trick obsessed odd-job man, providing here the requisite elements of sentimentality and comic relief, were dispensed with for the remake in those somber days of WWII.

This 1935 version of The Glass Key is not often seen, the 1942 film with Alan Ladd, Veronica Lake, and Brian Donlevy is far better known. Still this one has some interesting features, notably for the one and only time in his career George Raft played a Dashiell Hammett hero.

It is one of the legends of Hollywood that George Raft turned down three of the roles that made Humphrey Bogart a legend, High Sierra, The Maltese Falcon, and Casablanca. The middle one of these was taken from the Dashiell Hammett novel and Ed Beaumont is very much like Sam Spade.

They have the same laconic personality, but unlike Spade who is a partner in a detective agency and for hire, George Raft as Beaumont is the personal retainer and fixer for political boss Edward Arnold. And Arnold is heading for some trouble. He's decided to join the 'reform' element in his town headed by Senator Charles Richman and that does not please gangster Robert Gleckler who has had a working relationship with Arnold up to this time. But Arnold who has worked his way up from poverty sees a chance at respectability and the thing that makes him interested is Claire Dodd who is Richman's daughter and who plays along with Arnold's interest in her for her father's sake.

At the same time Richman has a wastrel son in Ray Milland who has added Arnold's daughter Rosalind Keith to his list of conquests. He's needing some money real bad to pay off gambling markers to Gleckler. Later on Milland winds up dead and suspicion falls on Arnold. It's up to Raft to investigate and get him out of the jackpot.

Three big changes from this version of The Glass Key are readily apparent. First in the 1942 version the daughter of Arnold becomes the sister of Brian Donlevy played there by Bonita Granville. Secondly the character of Emma Dunn is here as Arnold's mother, the mother isn't in the 1942 film. Finally a most unfunny comic relief character in this film played by Tammany Young is dropped altogether from the later film. Otherwise if you know what happened in that film the same occurs here with the same ending.

But the leads are the exact same, tightlipped and tough. George Raft and Alan Ladd are just about the same as actors except for hair color. Veronica Lake is a bit more sultry than Claire Dodd, but then again she was more sultry than most of the women ever born on planet earth.

I think Donlevy convinced himself in his version that he was really in love with Veronica Lake. Arnold whose character mouths the words was married before and now that he's a widower is looking for that all important trophy wife this time around.

It's hard to choose between Guinn Williams and William Bendix who played the sadistic Jeff who was the button man for Gleckler. Williams could be brutal in films if he had to, though most of the time he played amiable lunkheads. There's no element of latent repressed homosexuality in Williams's performance as there is with Bendix however.

Although both versions from Paramount of The Glass Key standup well today, it's really a pity that Humphrey Bogart and Lauren Bacall never got to do this story. It would have been perfect for both of them.

The 1935 film adaptation of Dashiell Hammett's labyrinthian yarn The Glass Key has been overshadowed by the 1942 remake yet survives as the better, though more obscure, version. Helmed by director Frank Tuttle and populated by a stellar cast headlined by George Raft this version simplifies the book's intricate plot into a streamlined 77 minutes. It exists as a very early example of film noir with its complex narrative, tenacious hero, seedy backdrop, and effective use of darkness and shadows.

The story is set in some unnamed small city. Crooked political boss Paul Madvig (Edward Arnold) is backing honest reformer candidate for Senate John Henry (Charles Richman) in the hopes of winning the hand of his attractive daughter Janet (Claire Dodd). Madvig's lieutenant Ed Beaumont (George Raft) correctly believes Janet is only playing up to him so her father can use Madvig's influence to get re-elected. Complications ensue when Senator Henry's wastrel son Taylor (Ray Milland) clashes with Madvig over Taylor's romantic involvement with the older man's daughter Opal (Rosalind Culli). Taylor is also swimming in gambling debts owed to Madvig's nemesis Shad O'Rory (Robert Gleckler) who is desperate to burn Madvig and take over the town. Things come to a head when Taylor is found murdered in the street and suspicion falls on Madvig. It is up to Beaumont to figure out who committed the crime and keep his boss out of prison.

Dashiell Hammett's complex source novel is expertly pared down by screenwriters Kathryn Scola and Kubec Glasmon into a mildly confusing film. The narrative retains much of Hammett's flavor and lifts many biting lines of dialogue verbatim from the author. The solution to the mystery is simple but we are directed down many side roads and encounter a rich collection of colorful characters. Ed Beaumont is the vehicle that transports us through the convoluted plot and is the quintessential Hammett hero: clever, tough, and not entirely legit yet admirably incorruptible to his own ideals. Director Frank Tuttle orchestrates all of this masterfully as he alternates between barraging his audience with information and letting the film breathe to establish that unmistakable film noir milieu. Two of the standout scenes involve Raft, Robert Gleckler (Shad) and Guinn "Big Boy" Williams (Jeff): Beaumont's brutal beating at their hands in a seedy boarding house and Beaumont's subtle interrogation of Jeff in a sleazy bar side room that goes south when Shad shows up.

Delivering one of his best performances is the impossibly cool George Raft as Beaumont who is completely in his element. Few actors could convincingly portray underworld figures onscreen as Raft who lends a genuine air of authenticity to the character. Beaumont is a role conveying the actor's ideal persona: tough, faithful to his friends, disdainful of "dirty heavies", and good to his mother (although it is Madvig's mom this time). Tuttle draws a finely nuanced performance from Raft as he is most effective relaying emotions via his eyes and with minimal dialogue as he lets his opponents hang themselves. Beaumont is clearly the brains behind Madvig and this street smart intuition is exuded by Raft with remarkable clarity. A stellar job by a frequently maligned star.

The supporting cast is formidable and peppered with familiar faces for those familiar with Warner Brothers films from the era; in fact several would cross paths with Raft down the road in Burbank. Edward Arnold is solid as the crooked politician wanting to go straight to win the hand of a lady. In reality Paul Madvig is something of a pathetic, dopey character but Arnold is a good enough actor to make one overlook that. Claire Dodd is appropriately underhanded as the duplicitous Janet Henry while Rosalind Culli isn't given much to work with as the naive Opal. A young Ray Milland is likewise underused as the weakling Taylor Henry while Tammany Young provides the yucks as Madvig's bumbling errand boy Clarkie who continually fumbles his card tricks yet provides an invaluable service by the end. The aforementioned Warners flavor is provided by several other members of the cast. Robert Gleckler is most conniving as Shad O'Rory while Guinn "Big Boy" Williams expertly enacts his brutish henchman Jeff. Williams is particularly frightening as he merges his usual dumbbell pretense with a physically imposing and psychotic thug who is impossible to control when his dander is up. In small roles Charles C. Wilson shows up as the DA Farr, Frank McHugh's brother Matt appears as a henchman, and Ann Sheridan materializes in a cameo as Raft's nurse (Wilson and more famously Miss Sheridan would costar with Raft in They Drive By Night 5 years later). Rounding out the cast of familiar faces is George Raft's lifelong pal Mack Gray as Duke and, for fans of Universal horror, Michael Mark in a blink-and-you'll-miss-it walkthrough as a member of Madvig's crew.

The 1942 version of The Glass Key starring Brian Donlevy (Madvig), Veronica Lake (Janet Henry), and Alan Ladd (Beaumont) suffers in comparison with this one. The main areas where it falters are the Jerry-rigged script that clumsily allows for a Ladd-Lake romance and Ladd himself who pales in comparison to George Raft in enacting the underworld character of Ed Beaumont. Of course, fans of that version will dispute my assertions but I stand firm on those grounds. The 1935 film is a tough, gritty, and fascinating film conveying the essence of Hammett while providing an impressive early template for the future film noir genre. The phenomenal cast featuring several future star actors (Edward Arnold, Ray Milland, and Ann Sheridan) in early roles makes this a must-see for classic film fans while Mr. George Raft demonstrates the appeal that made him a huge box office draw for Paramount in the 1930s.

This early adaptation of Hammett's novel is not as well known as the Alan Ladd version but is very much worth seeing. Different in some ways, eerily similar in some ways, it's usually a little more raw than the later remake (the car crash that opens the film is still jarring today). And as the other reviewer notes, it has all the classic noir elements. Definitely worth seeking out.

Original of the more famous remake starring Alan Ladd, Veronica Lake, and Brian Donlevy in 1942. This 1935 film stars George Raft, Edward Arnold, Joseph Calleia, and William Bendix.

This "Glass Key" is the same Dashiell Hammett story, and much of the script was kept for the 1942 version, plus in the remake, there were scenes added.

The glass key refers to a key that breaks in a lock - Raft as Ed here is warning his boss (Edward Arnold) to watch out for people out to get him. Arnold is Paul Madvig, who controls a political machine and falls in love with the daughter (Claire Dodd) of a wealthy man, Ralph Henry, trying to get the benefit of Madvig's political influence. When Henry's no-good son Taylor (Ray Milland) is killed, Madvig falls under suspicion. Raft works to prove his innocence.

This Glass Key has none of the bite of the 1942 version except when it comes to the violence. You practically cry out in pain when Ed is beaten to a pulp. When Ed gets away, it's by throwing himself out a window - a stunning and exciting scene in both films.

Frankly, I liked the performances in the remake better, particularly Brian Donlevy as Madvig. Interestingly, in this version, there is a 'Ma' Medvig, Donlevy's mother. Raft always had a wonderful warmth when working with mother figures. Ladd's Ed was too busy making time with every female he met. In fact, in the remake, the newspaper publisher's wife is added as someone who makes a pass at Ladd.

Taylor is an early role for Ray Milland.

The ending is different in the original as well - neither ending follows the book which leaves the situation ambiguous.

All in all, both have good points and performances.

Stark cinematography, crisp story-telling and quirky humor make this a ground-breaking film, showing later film noir creators the basics.

The classic Dashiell Hammitt story gets a unique treatment. The still, anticipatory mood punctuated with abrupt, staccato dialogue is an inspired match for George Raft, playing perfectly to his strengths. Like Raft the film is stylish, watchful and reticent. He doesn't have to fake a thing. Edward Arnold is at his best as Paul Madvig in the center of the drama.

As for plot, the ne're-do-well son of a senator is found dead in the gutter, and all the "evidence" points to his girlfriend's father, Madvig, a political boss in town. Arch-enemy Shad O'Rory (Robert Gleckler) pulls out all the stops to bring him down while Madvig's right-hand man Ed Beaumont (Raft) goes through hell to prove his innocence.

In one torturous sequence, Raft never speaks a word while being abused (not to mention mocked), and that silence is visually compelling. There is a delicious use of stark shadows throughout. Instead of a bombastic soundtrack we get subtle use of organic sound. A key scene of violence is underscored marvelously by a swinging light fixture and a solo rendering of "Walkin' the Floor" echoing up the stairs.

Pig-eyed Guinn Williams is somehow both comic and brutal as Shad's hired thug. Charles Richman is everything a senator should be. Claire Dodd is the passionate sister of the murder victim, and Rosalind Culli makes a watery Miss Madvig.

It is entertaining to see a very young Ray Milland in the brief role as the murder victim. And then there's Ann Sheridan, memorable in only one scene as one tough nurse.

This does not have elements that became stereotypical in the more fully developed film noir - such as the femme fatale and overt lustiness, which were in the popular Alan Ladd remake of this story. This version does hedge on some violent elements and is a little too simplistic in others, leaving some plot points unclear at first. But the its consistent sense of its own style and sense of reality with the more believable cast let this first version stand on its own.

Despite the date this first version of the Dashiel Hammett yarn has a distinctly pre-Code feel to it, with spare Germanic settings and devoid of the noirish trimmings that the later remake had in such abundance. In the role later played by William Bendix, Guinn Williams is unusually restrained, along with most of the rest of the cast.

Dashiell Hammett's 1931 novel, 'The Glass Key,' has been compared favorably to his earlier 1930 detective thriller, 'The Maltese Falcon." Paramount Pictures, buying the rights to the book as soon as it was hot off the presses, was the first Hollywood studio to bring the yarn to the screen in June 1935's "The Glass Key." George Raft plays the lead character Ed Beaumont, an assistant to crime boss and politician Paul Madvig (Edward Arnold).

A number critics cite Raft's performance as one of his best. "Raft is letter-perfect as the fast-talking, faster-thinking gambler who plays his cards close to his chest, speaking only with his mouth while his face says nothing, just his flashing eyes giving evidence of the wheels turning behind his outwardly calm visage," describes blogger Educated Guesswork.

Beaumont is the strong-arm enforcer to political big-wig Madvig, who also runs the city's crime syndicate. Directed by veteran Frank Tuttle, "The Glass Key" has been categorized by film historians as one of the first 'film noirs' brought to the screen. One scene especially qualifies its membership to the world of noirs' expressionistic lighting. Critic Dan Stumpf notes, "There's a particularly fine moment where he (Beaumont) watches a brutal murder without a flicker of emotion. Tuttle keeps the camera on Raft, his face lit by a wildly swinging overhead light that slows as a life slowly ebbs away." While directing "The Glass Key," Tuttle joined the American Communist Party, seeing it as a force to tamp down the rising power of Adolf Hitler. His membership ultimately hurt his career after World War Two, and was listed as one of 36 names linked by the Congressional House Committee in the late 1940s to be blacklisted in Hollywood.

Young actress Ann Sheridan, who claimed she was genealogically linked to Civil War Union general Philip Sheridan (her father was his grandnephew), showed an interest in acting at Denton Texas High School before earning a bit part in the 1934 movie 'Search for Beauty.' After twenty small uncredited roles, the 20-year-old actress appeared in "The Glass Key," playing the nurse overseeing the beaten up Ed in the hospital. Sheridan was one of Hollywood's more prominent screen actresses, whose career was cut short at 51 from cancer in 1967.

Gary Cooper was originally scheduled to play the George Raft role, but he was in the middle of a contract dispute with Paramount. "The Glass Key" was remade in 1942 with Alan Ladd and Veronica Lake, while the Coen Brothers made a more stark version of the Hammett story in their 1990 "Miller's Crossing" with Albert Finney.

In the unlikely event that the term "film noir" means anything, it must be the meeting of the US detective film and the sinister Germanic look.

The process can be seen well and truly evident in this rarely seen version of the Hammet story. This one has the down beat view of human nature, sinister nocturnal scenes, notably Raft's discovery of Ray Milland's body and the grim shadowed world of thug Williams in his best rôle.

Neglected in favour of the Alan Ladd version which borrows from it - disposing of the stroppy brother with a kick on the shins, the dog attack - this one plays better because it's easier to believe Arnold is running a city and for director Tuttle's use of comedy actors like Irving Bacon, in serious material. Raft as Ned Beaumont, the minder, fits right in here.

Notice the significant difference is the presence of the mother character in the space that the fiancée takes in the later film. The spectacular auto stunt opening gets things moving rapidly too. This one doesn't work up the intensity of the best of the forties thrillers - no erotic smolder and feelings of growing doom but it's still a good viewing that stands with the best crime films of its day.

When the new Production Code came out in July, 1934, Hollywood was forced to clean up its act. Up until this time, although there was the Hays Office, the studios routinely ignored this censors board and films were occasionally shocking...even by today's standards. Nudity, extreme violence, cursing and all sorts of sexual behaviors of all types were in a lot of films...and the Production Code of 1934 was a reaction to all this family-unfriendly material. Sadly, the Code often went too far...and many of the great gangster films of the early 30s were no longer allowed to be shown in theaters without significant cuts. I mention all this because although the Code was in full force, "The Glass Key" managed to have a lot of content which seemed Pre-Code! No, there was no nudity or cursing...but wow, is this a brutal and violent movie. Now I am not complaining...I actually think it helped the story...and managed to be grittier than the more famous 1942 remake with Alan Ladd.

Paul Madvig (Edward Arnold) is a Boss Tweed sort of guy...a powerful man who pulls the strings of various politicians and to get elected, a politician would have to be someone Madvig liked. However, a political enemy is determined to destroy Madvig. The only hope Madvig has is his assistant, Ed Beaumont (George Raft)...and Beaumont is determined to help Madvig even if it means nearly getting beaten to death to do it.

When Beaumont is captured and held prisoner, he's beaten pretty vividly by a lunking sadist (Guinn Williams)...so much so that I am shocked the film was released without significant cuts to these scenes. Additionally, Beaumont later decks a woman. They cut away at the very last second so you don't see it connect, but clearly he knocked a woman out...and again, I am shocked this remained in the film and wasn't cut. But all this add to the grittiness of the film...a film which is very much an example of film noir even though supposedly this genre wasn't created until the 1940s! Well worth seeing and a bit better than it's remake.

I love classic Hollywood films. People should watch more of these films. You get to see real talent. I am impressed by Mr. Raft. He was an excellent actor. This version is great. Edward Arnold is great in his role. A must have for your collection.

This splendid film rolls across the screen like scotch flowing into a glass. Every part is exceptional, every scene is strong, from Ray Milland as a rich guy in over his head, to Claire Dodd in her small but pivotal part as Milland's sister, to Guinn Williams in probably the best role of his career.

Raft goes down to the depths of the jungle and puts his hand right in the lion's mouth for his friend.

Even the hard nosed nurse in a one minute scene is just devastating with Ann Sheridan thoroughly dominating George Raft - who has just taken a series of brutal beatings with a careless, almost cheerful aplomb - and forcing him into silent submissiveness.

Amazing characterizations, but over all the drama and action - and there's plenty of it - and in the face of all these great players, even in spite of Raft's outstanding acting, Edward Arnold gives an astonishing performance and walks away with the film.

This one is definitely a 10!

Lacking Only the Glossy Sheen Perfected in the 40's, this is, the Under-Seen 1st Version of the 1931 Dashiell Hammett Novel, which was Remade 1942 with Alan Ladd and Veronica Lake.

This is Directed by the Blacklisted Frank Tuttle (who made a mark with "This Gun for Hire" (1942), and made a Star out of, wait for it...Alan Ladd.

Ever Since the Remake this One has Faded Further and Further From Film-Buffs Lexicon and has Lingered in Near Obscurity Only Mentioned in Passing Reference.

Also Hindering the Reputation is the Much Maligned and Overrated, especially Compared to Alan Ladd, George Raft in the Lead.

But, Truth be Told, it is a Solid and Spot-On Performance from Raft that He Seldom Matched, and the Enormous Popularity of Alan Ladd Helped Hide this Under-Seen Gem for Years.

It Contains some Brutal "Code-Pushing" Violence, especially the Famous Scene, in Both Versions where "Ed" Gets the Tar Beat Out of Him by a Possibly "Gay" Sadist Guinn Williams, William Bendix in the Ladd Version.

Also, Witness some Impressionistic Overlays of Shadowing that Preceded the Film-Noir Prime, Possibly Influenced by the Recent Run of "Horror" Films that were Extremely Expressionistic.

Edward Arnold Plays the "Mob-Boss" Controlling the Politics and the City, Brian Donlevy in the Remake. Arnold is More Hard-Boiled, but Phonies Up a Laugh Now and Then. Both Performances Hold Their Own.

Where the 40's Version has Effervescent Veronica Lake Stealing the Spotlight, Rosalind Colli as the Love-Interest Here is Basically a Non-Entity and is Overshadowed by Raft, Arnold, and the Interwoven Political Corruption-Crime Elements.

Look for a Young "Ray Milland in the Opening Act as a Freeloading Gambler that Stirs Things Up in a Big Way.

Madvig: "He's practically given me the key to his house." Beaumont: "Yeah? A glass key. Look out it don't break off in your hand."

Film-Buffs Must See Both Versions for the Full-Monty.

This movie, released in 1935 by Paramount, was the first film version of Dashiell Hammet's great mystery novel, The Glass Key. The same studio released a second, and better known, film version of the book in 1942. For some reason it has been well nigh impossible to view the 1935 flick until it popped up on Youtube recently. I am not going to compare the two versions. Instead , this review will focus completely on the first film.

The main character is Ed Beaumont (George Raft) the right hand man of Paul Madvig (Edward Arnold) the boss of a political machine in an unnamed city. In the course of the film Madvig finds himself waging a political campaign, on the verge of a gang war, attempting to woo a woman who does not care for him and wrongly accused of murder. Beaumont takes it upon himself to extricate Madvig from all these problems. The film tends to focus on the steps involved unraveling the mystery rather than on the motives and personalities of the primary characters. The plot is definitely complex.

The performances of the principal actors vary. Raft and Arnold are excellent. Raft's tough guy persona is laconic and manipulative. The scene where he impassively and silently watches a killing is one of the great moments in the history of film noir. Arnold, one of the best character actors of mid-20th century Hollywood, is alternately hard nosed, authoritative and good humored---sometimes in the same scene. Guinn "Big Boy" Williams plays a murderous thug . He's able to radiate a brutal aura while standing around and saying and doing nothing. William's portray is memorable. The other actors with significant supporting roles (Claire Dodd, Rosalind Keith, Charles Richman, Robert Geckler and Emma Dunn) perform their parts competently but don't leave much of an impression. Tammany Young, playing a bumbler named Clarkie (who was not in the novel) which was created to provide comic relief. Unfortunately this character was neither funny nor necessary.

The script, as it nears its end, deviates sharply from the novel in an attempt to provide an ending that is both happy and humorous. Hammett, wisely, never wrote pleasant conclusions for any of his novels. Nonetheless, thanks to the strong performances by some of the actors, this film is worth watching. Check it out. Many thanks to Youtube for making this movie available to the public at long last.