dougdoepke It's a Powell showcase as he transitions from obscure gentlemanly lawyer to high-powered legal-eagle. Corruption is rife in Adam's (Powell) big city. After crossing head racketeer Gilmurry (Landau), Adam loses his standing in a respectable legal firm. So he decides to play the game their crooked way, and does so with maximo success, using people for his own ends. Only his intensely loyal and lovelorn secretary (Blondell) sticks with his ruthless climb.There's not much patented Powell charm here. Instead, he moves abruptly from quiet reserve to ruthless assertion, becoming a not very likable character in the process. Surprisingly for Warner Bros. and a gangster theme, there's no machine gun splatter or snarling thugs. Instead of city streets, criminal conduct here is more civilized, taking place in office suites and judicial chambers. Still, the shenanigans can't be taken too seriously since comedy relief pops in and out. The movie's real suspense lies in wondering how Adam's turnaround will end. In short, what sort of reckoning will there be. Can't say I was happy with the resolution that unfortunately retreats from 30's pre-Code toughness. It's like the Code is already in effect. All in all, the movie's not very memorable despite presence of two of the studio's leading performers—maybe because they're playing somewhat outside their strong suits.

mark.waltz The dashing William Powell was hot in 1932, and with this as well as two classic romantic teamings with Kay Francis, all was right at Warner Brothers for him. It's a shame that his roles seemed to be more of the Warren William variety than what he would find later on at MGM, and what seemed promising for him at the start ended up being only a very short stay at the Hollywood studio known for making some of the grittiest films in the business.Like movie lawyers of the time, he's a sharp cookie who gets a bad reputation for winning practically every case, so his enemies all gather around him to tear him down. Secretary Joan Blondell is there by his side every step of the way, obviously so in love with him to the point where she basically mothers him. Dinner partner Sterling Holloway reminds her of how he warned her about falling in love with the boss, but that doesn't stop Ms. Blondell from being jealous of practically every female client who comes in. His enemies utilize a beautiful actress to destroy him in a false breach of promise suit, and before long, Powell is persona non gratta. He's found drunk in a bar, but before long, he's back on his feet again, obviously having more than just luck and the talent of fighting a good argument. Has he really learned anything? Probably not! Even if the story really isn't so hot or truly believable, this is Warner Brothers precode at its raunchiest, filled with witty lines and an excellent script. So having style over substance in this case does make it better, as does the presence of a fabulous array of Warner Brothers' best talents. Helen Vinson and Claire Dodd add gritty beauty to the proceedings, while Blondell's eye-popping close-ups make her unforgettable. This year alone, she had ten films out, and as a result, was considered one of the hardest working actresses in Hollywood. She doesn't have her usual share of wisecracks, but she's still excellent. David Landau is also a memorable villain. While this is far from the champagne that Powell would find in his MGM roles, it ain't quite Schlitz, either.

vincentlynch-moonoi I have mixed feelings about this film.On the negative side, it seems to wander around for a very long time before we get any idea of where it's heading.On the positive side -- William Powell. There are a few actors (Jack Nicholson and Clark Gable are examples) who are interesting to watch...even in bad movies...although this is not a bad movie (it's not great, but better than the typical film in 1932). William Powell is another of those actors. Someone truly special. And it's interesting to watch him here. Another thing interesting here are the scenes of New York City...real scenes...not staged.One thing to watch for, sort of early in the film, is what he does with his cigar when he meets a lovely lady. Definitely pre-code! However, there is also a sense that in today's standards, Powell's character would be considered uncouth in the way he looks at women.Another thing notable about this film -- particularly if you are familiar with traditional pop -- is the score. Quite a few familiar tunes throughout the film.Joan Blondell is quite good as Powell's sdcretary...who is clearly also in love with him...and wins him in the end. David Landau is fine as one of the crooked bosses, albeit one with a heart.The question really is -- does this film truly make sense. The ways things go back and forth between good and evil and Landau being sorta good and sorta bad...well, I'm not quite sure it all makes sense...but it is fun!

GManfred A Pre-Code movie that would be G-rated by today's standards, "Lawyer Man" is entertaining and good fun but should be billed as a drama/comedy, if you can imagine such. It moves very quickly as its star, William Powell, goes from honest, hard-working lawyer to shyster and back in 72 easy minutes. The problem is that, apart from Powell, all the other characters are two-dimensional, and are seemingly there for Powell to bounce lines off. David Landau, especially, was criminally wasted (no pun intended) as the 'big boss' and king-maker. Despite his role, he was likable while enduring endless insults from Powell. Most men in his position probably would have had Powell 'rubbed out' early on.That said, there is a lot to like in this picture. First off, there is Powell himself, elegant and dapper while miscast as a lower East Side lawyer representing lower class shlubs. There is also Joan Blondell, in her customary role as the torch-bearing secretary overlooked by Powell. There is Alan Dinehart, an excellent 30's character actor with a part that was too small for his talent. Despite the seriousness of the plot, much of it is played for laughs. In one amusing scene, two hit men turn soft in a goofy confrontation with Powell. Throw in some laughs via Blondell wise cracks, and you have a basically good-natured movie which I would rate a seven.P.S. Do you like old standards? This picture has some of the best you can hear nowadays on the soundtrack, played in the background by a 30's band.