Скачать с ютуб Edward G Robinson & Jean Arthur in John Ford's (comedy!) "The Whole Town's Talking" (1935) в хорошем качестве

Edward G Robinson & Jean Arthur in John Ford's (comedy!) "The Whole Town's Talking" (1935)

Meek and mild Arthur Ferguson Jones (Edward G. Robinson) and brash, fast-talking, devil-may-care, career girl, Miss Wilhelmina Clark (Jean Arthur), work at the same advertising firm. He harbors a secret crush on her while she barely knows he exists. Jones turns out to look exactly like the notorious bank robber "Killer" Mannion and is apprehended by the police. After his true identity is confirmed, the district attorney gives Jones a "passport," a letter identifying him as not Mannion, so that he can avoid the same trouble in the future. Jones becomes a local celebrity and, at the behest of his boss, begins ghost-writing Mannion's "autobiography" in the newspaper, with good-natured but street-wise "Miss Clark" (as he refers to her) voluntarily acting as his agent to see that he gets paid. Mannion decides to take advantage of his mild-mannered doppelgänger and, ultimately, leave Jones "holding the bag" for Mannion's crimes. He kidnaps Wilhelmina, Jones' visiting aunt, and his manager from work, and takes them back to his hideout. He instructs Jones to make a large deposit for Mannion's mother's benefit at the First National Bank, and then has a henchman phone the police and tell them that he (Mannion) is about to rob the bank. But Mannion's plan fails when Jones forgets to bring the check and unwittingly leads the police back to Mannion's hideout. Upon his arrival, Jones is mistaken for Mannion by the waiting henchmen and quickly realizes that he is meant to be the fall guy. When the real Mannion returns unexpectedly, his gang thinks he is Jones and machine-guns him to death. The police arrive in time to capture the rest of the gang and release the captives. With Mannion dead, Jones collects a reward and takes a long-desired cruise to Shanghai with Wilhelmina. A 1935 American Black & White comedy film (a/k/a "Passport to Fame", and "Jail Breaker") produced & directed by John Ford, screenplay by Jo Swerling and Robert Riskin, based on a story by W.R. Burnett originally published in Collier's in August 1932, cinematography by Joseph H. August, starring Edward G. Robinson, Jean Arthur, Arthur Hohl, James Donlan, Arthur Byron, Wallace Ford, Etienne Girardot, Donald Meek, Edward Brophy, and Paul Harvey. The first of five movies in which Edward G. Robinson and Edward Brophy worked together. The others are "The Last Gangster" (1937), "A Slight Case of Murder" (1938), "Larceny, Inc." (1942), and "Destroyer" (1943). Burnett was also the author of the source material for Robinson's screen break-through, "Little Caesar" (1931). Columbia Pictures borrowed Edward G. Robinson, playing against type, for this screwball comedy from Warner Bros. Robinson heard about the transactions through gossip columnist Louella Parsons. At the time Robinson's career was somewhat moribund and the star was tired of playing only gangsters. He was initially opposed to the project but changed his mind after reading the script. In retrospect, this has been seen as a turning point for Robinson, reviving his cinematic fortunes. Along with "The Little Giant" (1933) and "A Slight Case of Murder" (1938), it was one of the few comedies Robinson made. This mixture of dark comedy and the gangster film incorporated some footage originally shot for Columbia's "The Criminal Code" (1931). The film "The Whole Town's Talking" (1926) has no story connection to this film. While visually nothing stands out as a John Ford film, his mark is all over it. It's beautifully shot and lit by longtime Ford cinematographer Joseph H. August. Ford never wastes an opportunity to poke fun at the hypocrisy and ineptitude of those in positions of authority, and the police get it good in this one. The pace is handled deftly by Ford, and in the third act the action picks up and the comedy slows down. Contemporary reviews were overwhelmingly positive. Critics emphasized Edward G. Robinson's impressive dual performance, as well as the trick photography from Joseph August. The Hollywood Reporter called it "one of Robinson's best screen performances," dubbing it a "riotous satire" with "topnotch" writing. American Cinematographer included the film in its Photography of the Month section, citing two reviews that emphasized August's work. Later reviewers have remained very kind to the film. Film critic and historian Jean Mitry said of the film that it is "...wonderfully cut and mounted, supercharged, taut like a spring, it is a work of total perfection in its genre." And Michael Costello of All Movie Guide wrote that "Ford directs and cuts the scenes with uncharacteristic rapidity, seeming to enjoy playing off the meek clerk against the anarchic gangster." A John Ford comedy. How often do you hear that phrase? If you get a chance to see this great Robinson Classic, it is a perfect comedy, and a sheer delight! Everything falls into place. The acting, the pace, the timing of the jokes, the dialog. Even the set design is fabulous. This is truly a great Classic Film. Enjoy!