Manslaughter (1930)

Perfect cast and a good story

it is the rare 'crazy' movie that actually has something to say.

Amazing worth wacthing. So good. Biased but well made with many good points.

Blistering performances.

Claudette Colbert is so adorable! I know Clara Bow was called the "It Girl," but Claudette Colbert was easily the prettiest, cutest, classiest, most charming actress of the 1930s. And she always wore such beautiful clothes!In Manslaughter, Claudette plays a spoiled, callous rich girl who enjoys getting her way as often as she does. At a party, she meets and falls in love with Fredric March, the district attorney. Although they are very attracted to each other, their moral outlooks are quite different. Freddie chastises her for bribing a police officer, and she encourages him to skip work in order to party all night long. Then, when Claudette's reckless behavior lands her in court, their love is tested.It's always so fun to watch pre-code films, and flirtations run off Claudette's tongue effortlessly. The very end is a little silly, but the rest of the movie is a very entertaining drama. If you like early talkies that still carry the feel of silent films, like using title cards and no background music, check this out and get ready to fall in love with Claudette Colbert!

Paramount had high hopes for Claudette when she was signed in 1928. She had, by bad luck, been in a string of unsuccessful Broadway plays (except for "The Barker") and was now eager to try her hand at the movies. Before "Manslaughter" it hadn't looked promising - she had supported Edward G. Robinson in a very creaky stage bound crime movie, then played "the girl" as Maurice Chevalier went through his bag of tricks in "The Big Pond" and was also in the French language version of "Slightly Scarlet". But when Clara Bow's personal problems forced Paramount to replace her with Claudette in the upcoming "Manslaughter", Colbert grabbed the meaty role with both hands. It may have been an out-dated melodrama but with credentials that included being a remake of a Cecil B. DeMille silent blockbuster, it was a chance for her to tackle an A class production.Lydia Thorne (Colbert) is a spoiled rich girl who is heedless of the sober advice of her beloved aunt "Bennie" (Emma Dunn) as she sets out for a wild week-end in her roadster!! And what a ride it is, weaving in between traffic, racing a train, bribing an officer who tries to give her a ticket - she is riding for a fall!! She meets up and coming D.A. Dan O'Bannon (Frederic March) who around the dinner table espouses his views of justice for rich and poor alike - it doesn't go down too well with the country club set. Reality starts to filter into Lydia's privileged life - the young officer goes to O'Bannon with Lydia's bracelet claiming she tried to use it as a bribe, then her maid is found to have robbed the safe which contains Lydia's jewels, Lydia says the jewels don't mean a thing to her and she will go to the trial to testify in Louisa's defense but she forgets and the maid is sentenced to years imprisonment. Then there is another episode of "race the policeman", Lydia jack-knifes her car hoping to send the same young constable sprawling!! He does but unfortunately is pronounced dead at the hospital and suddenly Lydia finds herself facing a manslaughter charge and years in prison!!Claudette really rose to the occasion once Lydia dropped her flippancy and put on her "martyred" mantel and also showed why she was a bit different from other Paramount stars of the time (Bow, Carroll, Chatterton) - she was believable in what ever she was given and didn't seem to make bad career choices as far as parts went. In prison Lydia comes face to face with her maid who after becoming involved in a prison brawl, extends a helping hand.Lydia leaves prison (after 3 years) chastened but believing that Dan had promotional motives for sending her "up the river" - not realising he put his job on the line to secure her a pardon and she is now striving to get Louise released. An excellent film and as usual Claudette is just terrific in a demanding role.Highly Recommended.

Lydia (Claudette Colbert) is wealthy and selfish. She has no time for others as is illustrated when her maid Evans (Hilda Vaughn) is sent to prison for theft. Lydia's evidence could prevent Evans from going to jail but she forgets to turn up. She meets with O'Bannon (Fredric March), a lawyer who is committed to equal rights for rich and poor and although they fall in love, his principles do not sit comfortably with her behaviour. After a car accident in which a policeman dies, he takes the case for prosecution against her and she is sent to prison. How does she cope and what will O'Bannon do next?....The film is OK to begin with but every scene is just a little too long and so the film starts to drag. The cast are good but the story could have been told at a better pace and with a little more excitement. The way the film resolves itself is rather sudden and convenient for all involved.

MANSLAUGHTER is a highly engrossing early talkie melodrama with very early film performances of two of the great players from Hollywood's golden era, Claudette Colbert and Fredric March. Claudette Colbert stars as a spoiled heiress who believes there are two sets of laws, one for the rich and one for the poor. Young district attorney Fredric March believes quite the opposite - equal justice and punishment for everyone. They meet at a dinner party and romantic sparks fly and both are infatuated.But trouble is around the corner. March learns Claudette has attempted to bribe a young cop after being caught speeding by dropping her diamond bracelet on the ground and driving away which leads to a scene between them and any romantic possibilities crushed. And then Colbert's faithful maid Hilda Vaughn steals some of her jewels in a weak moment for her boyfriend and confesses. Self-centered Claudette however can't be bothered to remember the date of Vaughn's trial which results in her receiving a sentence of up to 15 years. Horrified to learn of the results, Claudette zooms off to see what she can do belatedly but her speeding this time results in a fatality and her being charged for manslaughter - and with the prosecuting attorney set to be March! This type of melodrama was extremely popular in the early days of talkies - Norma Shearer won much acclaim for THE TRIAL OF MARY DUGAN and a Academy Award nomination for A FREE SOUL, Mary Pickford won an Oscar for COQUETTE. Although I've never seen DUGAN, I can't help but feel Claudette Colbert's sterling performance even at this very early stage in her career topped them all. Her pampered socialite is a fully three dimensional character - selfish yes, but not an obnoxious, unfeeling person even when she is successful at getting things her way. She is matched by the dashing young March as the young man with ideals who cannot compromise his integrity even if it means prosecuting a woman he knows he is in love with, even as it tears at his heart.Emma Dunn is fine in a rare moneyed role as Colbert's loving and supportive aunt, Natalie Moorhead, generally cast as a menace in films, does well with her small part as one of Claudette's best friends but the standout in the supporting cast is the wonderful Hilda Vaughn who latter-day audiences surely know best as Jean Harlow's maid in DINNER AT EIGHT (1933) . Ms. Vaughn has a startlingly similar situation here as the put-upon maid on a spoiled socialite (with a diamond bracelet playing a key role in the proceedings again!!) but this role even gives her more to work with than DINNER and she has two wonderful little scenes in the prison when she and her former boss are finally on equal ground. (There's also a brief bit of unintentional humor for movie buffs with Louise Beavers' bit part as one of the inmates, seeing the two stars of the later IMITATION OF LIFE (1934) in jail side by side makes one wonder if that pancake corporation was on the up and up LOL.) Claudette Colbert and Fredric March were the perfect co-stars for each other, it's regrettable their only work together was so early in their careers and of their four films only DeMille's SIGN OF THE CROSS is easily seen. It's clear from MANSLAUGHTER that these were two stars who were wonderful from day one.