mark.waltz A 1933 sleeper, "A Kiss Behind the Mirror", ranks a ***1/2 rating in classic movie guides, but other than classic connoisseurs is obscure today. Remade just five years later by the same director (James Whale), it is essentially a B version which came as the now legendary director's career was in n decline and nearing its end. Having seen both versions several times, I can confirm that the original version is brilliant, while the remake is a suitable programmer, professionally made, yet not the glossy triumph of Whale's prime.Taking place mostly in the D.A. office of Warren William, it focuses on his ambition and the neglect of his beautiful and affectionate wife, Gail Patrick. More concerned with his endless run of convictions than the emotional needs of his wife, William sends men to their deaths with little emotion. The sudden case of accused wife murderer Ralph Morgan parallels his own life, and truth soon becomes stranger than fiction, with William finding himself facing the temptations of crimes similar to the men he prosecutes.The Universal of 1933 was glamorous and filled with hope of moving into the list of A movie studios. But hard times after the first cycle of horror movies had ended slowly brought them back down to low budget vehicles, with mainly Deanna Durbin musicals receiving box office attention. This is made on an obviously recycled Durbin set, looking good but feeling rather familiar after dozens of other law related dramas where the defense attorney did pretty much anything to get a release while the D.A. pretty much pulled the same tricks for a conviction. William is as delightfully pompous as always, with sophisticated Patrick playing a heroine rather than a bitch for a change. Cecil Cunningham is a delight as the wisecracking secretary, a la Helen Broderick/Eve Arden. Ironically, Ralph Morgan's more famous brother, Frank, played the William version in the original version, with Paul Lukas in the other Morgan's part and future Titanic old Rose, Gloria Stuart, as the wife. The mirror scenes between William and Patrick add a magnificent effect, but see the original version if you can to see the difference.

bkoganbing Warren William stars in this 1938 drama from Universal about a hard driving law and order District Attorney who gets a chance to reflect on his own attitudes and display the quality of mercy as the Bard put it. It's not an easy thing for him to do by any means.His chance comes when he prosecutes shy and retiring political science professor Ralph Morgan who in a fit of jealous rage shot his unfaithful wife. William gets a confession out of him and goes full blast to give him the electric chair even with high priced defense attorney Samuel S. Hinds working for Morgan.What brings him to a reassessment of the case and his attitudes is an Othello like episode in his own life. There's no Iago in the film egging William on, but he develops an almost insane jealousy about his wife Gail Patrick and a young neighbor William Lundigan. And unlike Morgan it's all in his own mind.Some good attention should be paid for Cecil Cunningham as William's girl Friday assistant in his office who lives up to her character name of 'Sharpy' with some very devastating lines. But stealing the film whenever he's on screen is Ralph Morgan. Such a pitiable creature he is you can't conceive of someone like him going to the chair.The film takes some interesting attitudes, not popular at this time about the death penalty. Wives Under Suspicion is a fine drama and comes highly recommended.

howdymax This is a truly original story. Granted, it was done in 1938, but I haven't seen anything quite like it since. That's unusual for Hollywood. Warren Williams is an obsessed District Attorney who is incapable of any human feeling toward the people he prosecutes. And then a case comes along. A refined, educated, teacher kills his wife in a moment of mad jealousy. Warren has no mercy for him. Coaxes him into a confession with the ultimate goal of executing him.The gimmick in this story is that, during the trial, he realizes that he is living a parallel life. He has neglected his own wife and come to believe that she is having an affair. After following her to a friends house, he finds himself with a pistol in his hand - a perfect parallel to the case he is trying. It changes his life.Warren Williams has a tendency to overact, but to hear him bellow in the courtroom, and cackle with glee when he pulls one over on his adversaries, is not to be missed. There is one caution. Is it possible to be too sophisticated? All the other actors are unremarkable, with the exception of Lillian Yarbo who plays the maid. Her lines and expressions are priceless.If, like me, you long for the days when Hollywood took the time to actually write a coherent script. A time when dialogue really meant something. A time when you second guessed the story and paid attention to the actors - instead of the special effects, take time out for this one. If you can find it.

OldTree Not a spectacular film, but it's always worthwhile to keep a close eye on Whale's works.Here we have district attorney Stowell, someone who is only satisfied when the criminals are duly punished. He has a special kind of an abacus with which he counts his successes: one skull for every murderer that he has sent to the electric chair. (Sharpy, his secretary, doesn't like it: „I wish you get rid of that hideous contraption. It gives me the willies.").Someday there is another case of murder. A workaholic has shot his neglected wife out of jealousy. Stowell must learn that his own situation is a parallel to the one of that man and finally he sees himself with a pistol in the hand ...Funny are the scenes with Creola, the maid. It's priceless how Lillian Yarbo delivers her lines.There's not much action in this film, but all the more dialogs.