JohnHowardReid Copyright 9 March 1934 by 20th Century Pictures Inc. Presented by Joseph M. Schenck. Released through United Artists: 29 March 1934. New York opening at the Rivoli: 11 April 1934. U.K. release: 20 October 1934. Australian release: 7 November 1934. 8 reels. 80 minutes. SYNOPSIS: Hardbitten telephone linesman has an off and on romance with his girlfriend because he suspects her boss is a crook. COMMENT: Producer Darryl F. Zanuck was certainly looking for trouble when he brought Wild Bill Wellman and Spencer Tracy together. The two men took an instant dislike to each other, a dislike that quickly bloomed into such a mutual hatred that the two men came to blows both on and off the set. The feud continued even after the movie wrapped until Wellman gave Tracy a black eye during a fight at the Trocadero on 4 December 1935. The movie itself is an entry in the popular hero-has-a-comic-sidekick brigade, although I found Mr Oakie's frequent bouts of deliberately forced comedy wearisome rather than entertaining. Fortunately, the movie captures more thrills than laughs even though the action is considerably delayed by a lot of romantic squabbling which we all know is going to come to nought. Whilst definitely below his usual standard, Tracy's performance rates as acceptable enough. He allowed Jack Oakie, Judith Wood and Paul Harvey to steal scenes, but drew level with Constance Cummings (who was cast in a lack-luster role as Tracy's on again off again girlfriend). Understandably, Wellman's direction lacks his usual drive, though he does come good in the two climactic action scenes.

MartinHafer Initially, I didn't like this film very much. After all, Joe (Spencer Tracy) was a one-dimensional guy who spends so much of the film getting angry and socking people. This sort of character sure is much different from the subtle and well-acted characters Tracy is famous for performing over the years...most likely because this is early in his career and he hadn't yet established himself as a top actor. I was almost ready to turn it off, actually, but fortunately stuck with it and I am glad I did. It wasn't so much because the story about wire tappings was that great but because the studio was able to take actual footage of a real earthquake and seamlessly integrated it into the film...making for a really exciting finale that catches you by surprise. Worth seeing.By the way, although it's not a severe example, the film clearly is a Pre-Code picture (coming out just a few months before the toughened Production Code was enforced). When Jack Oakie's character is calling various phone numbers, one turns out to be for a brothel...and he saves that number for later!

mark.waltz The lives of telephone repair men are explored in an overly plotty comedy with contrasting types playing off of each other with both tough and humorous dialog. Spencer Tracy and Jack Oakie reminded me of Bing Crosby and Bob Hope in the best "Road" movies with their quite opposite personalities. Tracy is hard and cynical, while Oakie is a good-natured jokester who lightens up his initially unamused partner quite a bit in spite of the fact that they both love the same woman. During the course of the movie, they discover a dead body, get involved in a bank heist and manager to get out of a burning building where they were held hostage. The clever dialog helps the film rise above its convoluted plot which runs all over the place in a short running time. A hard-boiled dame played by Judith Wood adds some zest to the conclusion, the other women in the plot not very interesting.

Mozjoukine Tracy aces the Bell Telephone Company trouble shooter hero character. Incident is piled high as Spence takes a night time 'phone emergency, with new side kick Okie in tow, and gets mixed in with the speak easy low lifes at the club, where he's repairing the 'phone. Misunderstandings follow with switch operator lady friend Cummings and rival gone to the bad Conway, involving wire tapping and a bank job. Throw in the 1933 Long Beach earth quake no less. They go on too long past the fire scene, which should be the climax and major talents like director Wellman, Tracy and Cummings must have regarded this as light duties but they seem to be in their element and deliver lively entertainment for the undemanding.