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The Trial of Vivienne Ware (1932)

Incredibly fast-moving courtroom yarn in which Bennett is defended by ex-beau Cook when she's accused of killing her faithless fiance, while the trial is broadcast live on the radio.

Director:

William K. Howard

Writers:

Barry Conners (screenplay), Kenneth M. Ellis (novel) | 1 more credit »
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Cast

Complete credited cast:
Joan Bennett ... Vivienne Ware
Donald Cook ... John Sutherland
Richard 'Skeets' Gallagher ... Graham McNally
Zasu Pitts ... Gladys Fairweather
Lilian Bond ... Dolores Divine
Alan Dinehart ... Prosecutor
Herbert Mundin ... William Boggs
Howard Phillips ... Minetti aka Joe Garson
William Pawley ... Joseph Gilk
Noel Madison ... Angelo Paroni
Jameson Thomas ... Damon Fenwick
Ruth Selwyn ... Mercedes Joy
Christian Rub ... Axel Nordstrom
Maude Eburne ... Mrs. Elizabeth Hardy
John M. Sullivan John M. Sullivan ... Judge Henderson (as J. Maurice Sullivan)
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Storyline

Incredibly fast-moving courtroom yarn in which Bennett is defended by ex-beau Cook when she's accused of killing her faithless fiance, while the trial is broadcast live on the radio.

Plot Summary | Add Synopsis

Genres:

Crime | Drama

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Details

Country:

USA

Language:

English

Release Date:

1 May 1932 (USA) See more »

Also Known As:

Omologise See more »

Company Credits

Production Co:

Fox Film Corporation See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Soundtracks

Together Again
(uncredited)
Lyrics by Ralph Freed
Music by James F. Hanley
See more »

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User Reviews

 
Great Film Version of the Radio Serial
14 December 2006 | by bobliptonSee all my reviews

William K. Howard was given the task of turning a popular radio serial into a movie, and succeeded. A carefully-written script that actually paid attention to the way cases are tried was the first step. Some great support, particularly Skeets Gallegher and the always fascinating Zasu Pitts helps. A restless camera helps keep up speed, and some interesting sets -- particularly the nightclub set -- make this a fine movie, even if the leads, who became lovers more than twenty years later, had no memory of working together on this one.

I wish to call your attention, if you ever have the chance to see this movie -- it is very rare and the one print I saw was a 16 mm. print, blurry as you would expect -- to the swish cuts. A swish cut is when the camera starts to pan away, then the illusion of high speed movement starts and when the camera slows down it is panning into a new shot -- maybe a quarter second elapses. It adds tremendous excitement to a sequence and Howard uses a lot of them here.

Unhappily, a lot of editing techniques for shot changes were on their ways out. By about 1935, Hollywood had settled on the now-standard techniques, except for a few movies which attempt to evoke the older movies. A loss to film grammar, but what can we do about it now, except to enjoy these techniques when we see them?

May 20 2010: I just noticed a modern use of the swish cut: any Doctor Who fan out there should take a look at Season 5 Episode 4 for the use of one, four minutes into the proceedings.


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