Burgess Meredith

Margo

Eduardo Ciannelli

Maurice Moscovitch

John Carradine

Edward Ellis

Paul Guilfoyle

Stanley Ridges

Mischa Auer

Willard Robertson

Alec Craig

Myron McCormick

Helen Jerome Eddy

Barbara Pepper

Fernanda Eliscu

George Humbert

Paul Fix

Lucille Ball

Frank Mills

Alfred Santell

Maxwell Anderson

Anthony Veiller

Pandro S. Berman

Nathaniel Shilkret

J. Peverell Marley

William Hamilton

Van Nest Polglase

John L. Cass

Romance

Crime

Drama

Winterset

RKO Radio Pictures

United States of America

CinemaSerf

I thought Burgess Meredith turned in quite a characterful performance in this otherwise rather dry drama. He is “Mio” whose late father we have already seen at the top of the film being condemned to the chair for his part in a robbery. Now, a generation later he is determined to prove that he was innocent. What quickly becomes apparent is that the investigation at the time was largely based around the “if your face fits” theory, and it doesn’t take “Mio” very long to get onto the trail of a far more likely culprit. Meantime, we also discover that a speech made by his dad upon sentencing declaring his innocence and warning the judge that his will be a sort of living death from now on has turned out to be eerily true. That judge (Edward Ellis) has indeed somewhat lost the plot, and is a ghost of his former self wandering the streets with little memory of who he is or was. It might well be that “Mio” could be in a position to salvage more than one should here? The plot clearly seeks to highlight the difficulties for the poverty stricken, slum-dwelling, population of the USA to not just get by in life, but to get a fair hearing from authority. That’s not just the court proceedings, but also far more rudimentary aspects of freedom. Even an assembly to dance attracts the police. Ultimately, though, it really does come down to a straightforward style of good and evil, and with the underplayed but effectively sinister effort from Eduardo Ciannelli and a really quite impactful one from Ellis, this can at times be quite a poignant evaluation. Alfred Santelli hasn’t done so much to creatively adapt it from the stage though, and that straight transfer to celluloid sees it lose quite a bit of it’s intensity. Even with the romantic attachment to “Miriamne” (Margo), much of the intimacy is gone, the dialogue is all too often delivered as if it were set-piece monologues, and none of the characters really come together until very near the end. Just taking it from the theatre to the cinema was always going to compromise some of the nuance, and though this is still a decent effort it just misses a little of the story’s soul.

English