Based on an original Theater Guild production entitled "Midnight" (which is what the title of this movie was upon its initial release; it was later re-issued as "Call It Murder"), the interesting though far-fetched premise has a staunch, law-abiding jury foreman (O.P. Heggie) who once swayed a jury into giving a woman (Helen Flint) the death penalty for killing her boyfriend in an act of passion, now finding the same scenario rearing its ugly head in his own personal life. Unfortunately, this piece of hokum (which desires to call itself film-noir but I beg to differ) is woefully melodramatic and never finds any kind of selling point or payoff. What could have been a strong examination on the subject of capital punishment simply dissolves into a superficial piece of claptrap with indifferent directing, bad production values, overbaked acting, and a movie that moves at a snail's pace. As most of the proceedings happen in the home of the foreman, the whole movie has the claustrophobic feel of a staged play.
As mentioned in other reviews posted, the package re-issued "Call It Murder" spotlights Humphrey Bogart as the star, but his part is at best a featured role. However, even in this secondary bit of casting, he easily outshines and outclasses the rest of the principals. Bogie, in his pre-stardom days, plays Gar Boni, a gangster about to go on the lam, who takes up with the jury foreman's daughter (Sidney Fox) and unknowingly ignites the deja vu proceedings.
The movie sags and wilts any time Bogie isn't on screen. It also shows why he was a star in the making. His brief scenes, in which he both comes on to the girl and then gives her the brush off, are indicative of the style and 'stuff' that would make him a legend.
However, there is simply nothing else to recommend. A tormented stentorian O.P. Heggie (later the hermit in "Bride of Frankenstein") gets to grandstand outrageously on his , and poor quivery-voiced Sydney Fox as his daughter and Bogie's overly smitten girlfriend falls into the sea of melodrama hook line and sinker. On a sad note, this proved to be one of Fox's last ingénue roles. Her career quickly disintegrated and she eventually committed suicide. The rest of the cast fails to register or inspire one way or the other.
The movie goes from bad to worse when it takes a highly implausible Perry Mason-like twist at the end right in the living room. Well, suffice it to say, its all for naught. What might have been a better way to go would have been to throw out the script and focus instead on a Helen Flint's Death Row dame a la Susan Hayward in "I Want to Live." It might have made for better viewing.
As mentioned in other reviews posted, the package re-issued "Call It Murder" spotlights Humphrey Bogart as the star, but his part is at best a featured role. However, even in this secondary bit of casting, he easily outshines and outclasses the rest of the principals. Bogie, in his pre-stardom days, plays Gar Boni, a gangster about to go on the lam, who takes up with the jury foreman's daughter (Sidney Fox) and unknowingly ignites the deja vu proceedings.
The movie sags and wilts any time Bogie isn't on screen. It also shows why he was a star in the making. His brief scenes, in which he both comes on to the girl and then gives her the brush off, are indicative of the style and 'stuff' that would make him a legend.
However, there is simply nothing else to recommend. A tormented stentorian O.P. Heggie (later the hermit in "Bride of Frankenstein") gets to grandstand outrageously on his , and poor quivery-voiced Sydney Fox as his daughter and Bogie's overly smitten girlfriend falls into the sea of melodrama hook line and sinker. On a sad note, this proved to be one of Fox's last ingénue roles. Her career quickly disintegrated and she eventually committed suicide. The rest of the cast fails to register or inspire one way or the other.
The movie goes from bad to worse when it takes a highly implausible Perry Mason-like twist at the end right in the living room. Well, suffice it to say, its all for naught. What might have been a better way to go would have been to throw out the script and focus instead on a Helen Flint's Death Row dame a la Susan Hayward in "I Want to Live." It might have made for better viewing.