LAWYER MAN
US, 1932, 72 minutes, Black and white.
William Powell, Joan Blondell, David Landau, Helen Vinson, Claire Dodd, Allen Jenkins.
Directed by William Dieterle.
Lawyer Man is one of many films directed by William Dieterle in 1931-32. Born in Germany, he directed and acted in many films in his native land, moving to Warner Bros in 1930 for American versions of German films. However, he had a successful career in the United States in the 30s, 40s and 50s, returning to Germany to make films there.
He is particularly well remembered for the biographies with Paul Muni as well as The Hunchback of Notre Dame.
William Powell had been acting in silent films including the Oscar-winning The Last Laugh. He was emerging as a popular star at Warner Bros at this time (The Jewel Robbery) but was to move to MGM where he established himself as a charming lead, especially in the Thin Man series. Joan Blondell worked in film and television from 1930 to 1980, a bright character – here the secretary to William Powell’s lawyer.
The film is slight on characterisation, very quick in editing and pace, focusing on the plot. William Powell is a lawyer to the poor, gets an opportunity to go uptown, is betrayed and falsely accused of blackmail, is an antagonist to the political bosses of the period but winning a case becomes the assistant district attorney. When he achieves his revenge on those who took him down, he returns to his poorer origins. There are some glamorous femme fatales played by Helen Vinson and Claire Dodd. David Landau is the boss.
Powell is given a very strong speech about integrity, the law, corruption and politics at the end of the film – it is topical, with explicit reference to Al Capone.
1. The title, expectations? 1932? Tough Warner Bros dramas with comic touches?
2. New York City, the poorer area, upmarket, restaurants, courtrooms? The district attorney? The musical score – and the background of popular songs of the period?
3. The character of Anton Adam, his work, his clients, his success in court, Izzy Levine and his ingratitude? Bentley and his offering him the partnership? Olga as the devoted secretary? His new premises? His roving eye, the initial encounter with Barbara Bentley, going out to meals with her, the flirtation? The encounter with John Gilmurry, the political boss? The girls? Meeting Virginia? Her case of breach of promise, the documents, the case, the journalists and their questions, the disappearance of the letters? The quick outlining of the court case against him and his loss? Bentley moving out? Barbara disappearing? Olga and her being faithful? The years passing, his being on the outer? In the sauna, the old man, his case, Anton taking it on, winning against Gilmurry? Gilmurry and his previous offers for Anton to join the political party? Anton and his accepting the nomination for assistant district attorney? The case against the blackmailers? Gilmurry and his admiration? His continued offers? Barbara and her marriage? Olga, always faithful? Their going back to the poor area?
4. The significance of Anton’s final speech to Gilmurry, the criticism of political bosses, parties and politicking, judges and lawyers in the pay of the political party? The reference to the times – and the references to Al Capone?
5. The women, Olga, bright and breezy, her continued comments and advice? The contrast with Barbara Bentley, the society woman? Flirtation? Virginia, in a show, mixing with criminals?
6. The world of lawyers, Bentley and his integrity? The world of thugs? The world of politics? A mirror of American society in New York in 1932?
