The title suggests an earnest silent drama about wayward youth, and for all its ample pre-Code trappings much of this film feels like a remake of a silent film, including the flashy optical effects and Eddie's incredible final discovery of God in the condemned cell at the film's conclusion. His road to ruin is vividly if preachily conveyed with the assistance of smooth direction by Wesley Ruggles and Leo Tover's excellent photography; but it's after he's arrested that the film really comes to life when he seems more exhilarated with his burgeoning celebrity in court than concerned by the fact that he's on trial for his life. The law - as is habitually the case in a remarkable number of Hollywood films - is portrayed as cynical and venal. In the person of Ralf Harolde and Harry Shutan the prosecution and defense councils make an unlovely pair; the latter is introduced showing far more interest in what assets Eddie's sweet little grandmother Beryl Mercer (fresh from played James Cagney's sweet little mother in 'The Public Enemy') can realise in order to pay him than in the case itself. Despite the fact that we know Eddie is guilty he does such an able job of defending himself in court he seems to be cruising towards an acquittal until the script finds it necessary to intervene by having his partner in crime Nick's nerve conveniently fail him in the witness box and spilling the beans.
Review of Are These Our Children
