The Mouthpiece

The Mouthpiece (1932)

*** 1/2 (out of 4)

Highly entertaining moral tale from Warner about D.A. Vincent Day (Warren William) who has a change in heart after sending an innocent man to the electric chair. He decides to switch sides and take the money in return for getting criminals off of crimes they've committed but he starts to have second thoughts after falling for a woman (Sidney Fox) who works for him. THE MOUTHPIECE is such a good film that after viewing it I was rather shocked to realize that not too many people know of it. Warner was the king at delivering these moral tales during this period so it's kind of shocking that this here has been swept under the rug and forgotten. It's certainly a prime candidate for being rediscovered because there's just so many great things going on here. We can start with the terrific cast being led by William in one of the greatest performances I've seen from him. Yes, he can play that ruthless character better than anyone else but this here shows the actor at his very best. The supporting cast is equally great with Fox really coming across good as the woman the lawyer falls for. Aline MacMahon is also very memorable as the secretary and we also get great work from John Wray, Ralph Ince, Morgan Wallace, J. Carrol Naish and J. Carrol Naish who plays one of the thugs. The film has several sequences taking place inside the courtroom and these are some of the most imaginative court scenes you're going to witness. It was wickedly fun watching William work his magic and especially during one scene involving some poison. If I had a problem with the film it was the love story aspect. I just never fully bought why this lawyer would fall so hard for this girl but this really doesn't take away much. THE MOUTHPIECE is a terrific little drama that has the studio and cast doing their best and it needs to be viewed by more people.

One of the better movies of 1932, "The Mouthpiece" features a tour de force performance by Warren William as a brilliant but corrupt prosecutor with a weakness for dames, drink and dollars but who is redeemed by a stubborn moral sense that sometimes overcomes his vices. The screenplay, by the prolific but tragically short-lived Joseph Jackson (whose other work includes such gems as "Safe in Hell" and "One Way Passage"), is both hard-edged and witty, with many of the funniest wisecracks delivered memorably by the incomparable Aline MacMahon as William's loyal secretary, the type of role that might have been played by Joan Blondell or Glenda Farrell had the studio casting dice landed another way. The familiar Warners-First National stock company appears in full force including Guy Kibbee as a speakeasy bartender; Noel Francis as a golddigger; J Carrol Naish as a gangster; Walter Walker as a district attorney. The diminutive Sidney Fox persuasively plays a secretary in William's firm who helps to set him on the right path.

An ambitious Ass't DA switches his talents to defending the mob. But is it permanent.

Watching the imperious Warren William (Day) as a legal shark is really impressive. He's got all the tricks of a Houdini, along with the ethics of a cobra. Drinking the poison in court is a real grabber. This part of the movie is riveting and dynamic playing to William's commanding strength. And that's so, even if the diminutive ingenue Fox (Cecilia) is a foot shorter and a lot younger, so there seems something illegal going on when they passion kiss. I can understand the peculiar casting here since Fox projects just the kind of sweet innocence that might turn the head of even the most jaded scalawag. Still, the big turnaround doesn't really jibe with Day's power-grabbing character, and in my book, undercuts the initial setup of its powerful promise.

Speaking of characters, Aline MacMahon (Hickey) darn near steals the film as Day's wisecracking secretary. What a shrewd piece of casting since few actresses can actively compete with the forceful William. Yet, she does, and makes you believe it. Good to see her cast as someone besides a maiden aunt or the family wallflower. Despite the story's central difficulty, this is a smooth production, fluidly paced, that demonstrates the expert professionalism of the old studios, in this case Warner Bros. Anyway, here's to Warren William, a great screen personality deserving of rediscovery.

A disillusioned Assistant DA becomes THE MOUTHPIECE for a scurvy assortment of crooks & criminals. His new public persona is mirrored by his shady, lustful private life. Can the influence of two very different women save him before it's too late?

Warren William drives this very entertaining, albeit forgotten courtroom melodrama. With its rapid-fire plot & smart aleck dialogue, the film is a perfect representation of its era.

William was ideal at this kind of role; indeed, he played several others in the early 1930's which were almost mirror images of Vincent Day, the shyster lawyer he gives life to here. With his patrician bearing & interesting bass voice, William's characters were always worth watching. In this film, his courtroom scenes are especially engrossing as he engages in histrionics & sly subterfuge to sway the juries. It is to Hollywood's discredit that this very fine actor is virtually unknown today.

Aline MacMahon gives another of her splendid performances, here as William's world-weary, tough-as-nails secretary who secretly loves him. Sidney Fox is very good as the innocent Southern girl who's smart enough to recognize William's wicked ways.

Guy Kibbee has the small role of a sympathetic bartender. Movie mavens will spot an uncredited Charles Lane as a hotel clerk.

I love old movies. And, of these, perhaps the ones I like best are the so- called 'Pre-Code' pictures. This refers to a time period in the early 30s when there was a set of rules and standards for films but Hollywood routinely ignored them. While you might think these older films were sanitized and highly moral back in the day, the Pre-Code period was filled with films that had a lot of very adult content-- even by today's standards. Eventually, the public began avoiding theaters and groups like the Catholic Legion of Decency began demanding changes. Faced with lower revenues and too much bad publicity, the studios finally caved in to demands and created a tougher new code in mid-1934--one which practically banned everything! It's a shame in some ways, because the old Pre-Code films are pretty exciting--and sometimes better than the Post-Code pictures.

A great example of the differences between the styles in these films can be seen in the old Pre-Code movie, "The Mouthpiece". Like many movies of the time, it was remade several times--and these Post-Code versions were rather weak in comparison. All three versions are shown regularly here in the States on Turner Classic Movies and I'm compulsive enough to have seen them all so you don't have to!

"The Mouthpiece" stars Warren William--an actor who was very popular back in the day but who is sadly forgotten today. Some of this is because he died rather young but most is that after the Code was finally enforced, the rakish jerk he played so convincingly in so many films was now forbidden--and the characters he played in the Post-Code films were awfully bland by comparison.

When the film begins, Vince Day(William) is a prosecuting attorney-- and a very successful one. However, his confidence and swagger are knocked out from under him when a man he convicted and got sentenced to death is executed...and it's now known that the man was innocent. Not surprisingly, he quits this job and becomes a defense attorney instead. What is surprising, though, is that he quickly begins to feel right at home with the other side of the law and soon begins defending the scum of the earth. He is no champion of justice or the oppressed! To make it worse, he uses a variety of tricks and theatrics to gain acquittals--even though some of these tricks are clearly the sort of things that could get him disbarred. But, the tricks do work--and jury after jury is swayed by his courtroom antics. And, the gangsters in town love him.

When not working, Vince spends most of his time chasing women. Married or single...it makes no difference to Vince and the film strongly implies that he sleeps around...a lot. Additionally, he frequents speakeasies (this IS during Prohibition) and hangs out with underworld types. All this comes to a head when one of his secretaries, Celia (Sidney Fox) confronts him for his antics when he makes the moves on her. For some odd reason, he actually respects her and cares what she thinks of him. Could he have a conscience after all?! Where all this goes next, you'll just have to see it for yourself but it certainly won't disappoint.

So how does "The Mouthpiece" differ from the remakes? Well, most of the difference is due to the actor playing Vince. You could believe that Warren William is a dirty old lecher and crooked lawyer in "The Mouthpiece". However, in the later remakes, George Brent and Edward G. Robinson play the same guy. Brent is smooth but safe in his characterization and Robinson is much older and seems to have even less libido than Brent! They're tricky but not much more. And, as a result, these excellent actors come off as dull--whereas William NEVER is ever dull! In fact, during much of the film William's character chases after Celia even when she is described as 'jailbait'--a woman who is underage! Additionally, there is a hard cynical edge and originality that make it hard not to be captivated by "The Mouthpiece" and it's simply a much better film. Sure, it's sleazy...but you can't stop watching!

There is a sad epilogue to this film. The diminutive Sidney Fox is terrific in this film, particularly when she confronts Vince for being the blackguard that he really is. However, only a decade later, at age 34, she died--and her death appears to have been a suicide. As for William, his career clearly took a turn for the worse after 1934 and he began appearing more and more in B-movies as opposed to the prestige pictures from earlier in his career. He died from cancer at age 53. Reportedly, however, in real life he had been nothing like the rogue he played so well in the 1930s.