The Roadhouse Murder (1932)

Too much of everything

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

When Wesley Ruggles put out a casting call for his movie "Are These Our Children" he found 3 bright stars. Eric Linden was given the leading role of the young braggart and won rave reviews. From then on he had a very up and down career (unfortunately mostly downs). He was dubbed "the tragic boy actor of the screen" and when given a meaty part often proved more memorable than the movie. Maybe this was the movie that started the "why don't I plant evidence so I can be convicted of the crime" cycle but films like "Circumstantial Evidence" (1936) and "Beyond Reasonable Doubt" (1956) posed serious questions about capital punishment, whereas with "The Roadhouse Murders", it was simply a novel twist to a tired mystery plot.Chick Brian (Linden) a reporter on a muck raking paper (is there any other kind) is desperate to prove himself - even surprising women in their baths to get a sensational photo. His girlfriend Mary (sweet, petite Dorothy Jordan) is the daughter of the local police chief (Purnell Pratt) and as her father is not impressed with the brash Chick, they tend to meet on the sly. One of those times, they are caught in a downpour and seek shelter at the Lame Dog Inn and within an hour are embroiled in a double murder. Even though they see the murderers, Chick thinks it would be a swell idea if he with-holds evidence and plants clues showing himself to be the murderer, then he can send the paper sensational articles about life on the run and thoughts of a wanted man. To give Mary her due, she is not keen on the idea and only falls in with her idiot boyfriend when he convinces her that all she has to do is turn up at the trial with the pocket book and it will be champagne all around.Bruce Cabot, who easily gives the most dynamic performance in the movie as the brutal thug, starts following Mary around and - yes, you guessed it, manages to steal the pocket book!! What will our intrepid dumb-cluck do now!!! Even before Chick is caught, life on the run is taking it's toll - he starts to feel hunted and guilty!!!This was Linden's 4th movie. Even though he was versatile, his first 2 films gave him parts that were abrasive braggarts, in this he was a cocky upstart and with the next one "The Age of Consent" you guessed it - he wasn't the sensitive hero but "Duke" who loved fast cars and fast women, so is it any wonder his star faded so quickly. The maid's role was filled by the uncredited Julie Haydon - films didn't do right by her so she went to Broadway, to be the muse of George Jean Nathan and Noel Coward.

Roadhouse Murder, The (1932) ** (out of 4) The one thing this RKO film can say is that they did this story several years before Fritz Lang's BEYOND A REASONABLE DOUBT. In the film, a reporter (Eric Linden) and his girlfriend (Dorothy Jordan) are in a roadhouse when two people are murdered. There's enough evidence left by the real killers to make the search for them very easy but the reporter wants a story so he decides to take the evidence and leave news bits and pieces to make himself look guilty. The plan is for him to go on the run, cause a news sensation, go to trial and then bring out the real evidence to clear his name but of course nothing goes as planned. THE ROADHOUSE MURDERS wasn't the first film to do this story and while the Lang film wasn't the greatest movie out there it at least told the story a lot better than what we get here. I'll admit that I was entertained by the first thirty-minutes but there are just so many holes in the story and the two lead characters are so stupid that you can't help but find the entire thing annoying. One of the biggest problems happens right when the murders happen as the real killers see the reporter and the girlfriend yet do nothing to them. If these killers were worried about being caught then why on Earth do they let the witnesses live? Another problem is that this cub reporter isn't the brightest thing in the world so not for a second did I believe he could pull this off. Another thing that doesn't work is the direction because we never believe what we're watching. The idea of someone putting themselves in this situation is far-fetched to begin with but at least someone like Lang could use the suspension of disbelief but that never happens here. Linden isn't too bad playing the dimwit reporter but the screenplay just makes the character come off very annoying. The same could be said for Jordan who is good but her character is just too dumb. The supporting cast includes Bruce Cabot in his film debut playing the real killer and Phyllis Clare as his helper. Roscoe Ates of FREAKS fame has a small role here and actually steals the picture with his comic bit. At 72-minutes the final forty or so go by rather slowly because you're becoming so annoyed with the characters and it's a shame more attention wasn't given to the story. This was clearly just a "B" picture for the studio so they were just cranking it out when they should have tried fixing some of the problems and making for a good mystery.

A reporter on the copy desk tries to get a chance to break a big story he has a lead on. When he tries to run it down he ends up bursting in on the girlfriend of the publisher of the paper as she's bathing. Deciding to relax with his girlfriend after a trying day he ends up stuck in the rain in his car with its top down. Getting a room at a roadhouse the couple thinks they hear a shot. Going to investigate they find two dead bodies and two people rifling through a desk who tell them "they know and saw nothing" before they climb out a window. Our hero sensing a big scoop then tries to bend the crime to his advantage and sets himself up for the murder so that he can write about it. The problem comes when he's unable to prove his innocence when he needs to.This early talkie is an okay, if clichéd, little film once it gets going. The early scenes in the newsroom seem to be steals from the Front Page and its over lapping dialog in a mad attempt to exploit the then novelty of sound film. Once the murders occur and the plot is in motion things are enjoyable even if we've seen it all before.The problem with this film is that its plot has been done countless times before and since. You know whats going to happen the question is do you care enough to see how they do it this time. Complicating matters is the acting which is often stilted and seemingly out of date and artificial. The behavior of the City editor at the opening is very unnatural. Coupling the odd acting styles with what now seems to be very silly dialog makes matters worse. I wasn't sure if I was laughing at or with the film. There are a few times when all of the problems in plot,acting and dialog come together to produce some big "they didn't mean that" sort of laughs.If you like old mysteries and don't mind one thats a bit past its freshness date I'd give it a try. If you don't want your movies stilted I'd stay away.

Reporter stumbles upon murder scene and gets the harebrained idea of framing himself for it. This will allow him to write a great human interest story about the thoughts and feelings of a man being hunted by the police. And of course he can prove that he didn't do it, when the time comes. And of course he winds up in much too close proximity to the electric chair. (What his cute g.f. Dorothy Jordan sees in this loser is a mystery to me.) The plot is as silly here as in nearly every other variation of the one where some moron frames himself for murder with good intentions, but Jordan is perky and helps carry the film in one of her bigger RKO roles. Seeing her name in the credits was the primary reason I watched this picture.Despite the story problems, picture is also well made by director J Walter Ruben (this was the second film of his that I had ever seen). Ruben and his films are largely forgotten, but he was one of the first writer-director double threats of the sound era, working nearly a decade at RKO before moving over to MGM where he produced but only occasionally directed, before his premature death in the early 1940s. Most of his films are well worth seeking out. TROUBLE FOR TWO, based on Robert Louis Stevenson's "The Suicide Club," is outstanding.