Screwball comedy and gangster melodrama are uneasy fit
“The Whole Town’s Talking” stars Edward G. Robinson (“Little Caesar”) as Arthur Ferguson Jones, a mousy office clerk. Co-worker Wilhemina “Bill” Clark (Jean Arthur) jokingly points out the uncanny resemblance between Jones and a photo in the newspaper of escaped convict Killer Mannion. When Jones goes to a cafe for lunch, another patron also notices the similarity and calls the police, hoping to claim the $25,000 reward.<br /><br />After much to-do with the cops, they finally figure out that Jones isn’t the escaped criminal. To prevent further confusion, Jones is given an official letter stating that he is, in fact, not Mannion. But when he lets himself into his rented room, there’s Mannion waiting for him. Mannion demands that Jones let him use the “passport” at night, when he commits his crimes. Jones can hold onto it during the day. Frightened for his life, Jones agrees, and a series of episodes involving mistaken identity is set in motion.<br /><br />Hollywood has used the doppelgänger theme many times, with the same actor playing identical characters. It’s a challenge for the actor to provide each persona with distinctive mannerisms and personalities. Robinson establishes Jones as a competent, reliable, meek employee who is a small part of a large company. When Mannion appears, it’s the Robinson from his gangster days, with a permanent scowl and a hard stare that elicits chills. Split-screen special effects show the two men in the same frame, thus making their co-existence seem even more real. Other scenes feature over-the-shoulder shots with a stand-in as one character, back to camera, speaking to Robinson as the other. These scenes firm up the illusion.<br /><br />The film has the feel of a screwball comedy and Ms. Arthur plays it that way — devil-may-care, brash, over-the-top, reckless, and wise-cracking, but the presence of Mannion imparts a darkness that’s unusual for such otherwise lighthearted movies. Director John Ford (“The Quiet Man”) incorporates a series of quirky antics and some amusing supporting characters, such as the fellow (Donald Meek) who’s always asking about his reward money, the prissy office manager (Etienne Girardot), and the company boss, J.G. Carpenter (Paul Harvey). But the film never achieves the giddiness of, say, “Bringing Up Baby” or “My Favorite Wife.”<br /><br />The screenplay by Jo Swerling and Robert Riskin mixes melodrama and silliness. The romance between Jones and Miss Clark provides dramatic balance to the Mannion plot. When Ms. Arthur is off the screen, the film bogs down and becomes more like a traditional gangster flick. Director Ford keeps the pace brisk, but it’s Robinson’s dual performance that is the solid anchor of the movie. He both embraces and contradicts his stereotypical casting as an underworld thug.<br /><br />Bonus materials include an 8-page booklet containing a critical essay by Julie Kirgo, still photos from the movie, and a reproduction of the film’s original poster. There is also a Twilight Time catalogue, featuring Blu-ray releases from 2011 to 2019.
The movie title "The Whole Town's Talking - Twilight Time [1935] Blu-ray," available on Movies & TV, has received an average rating of 4.6 from 81 reviewers. 
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 {"Package Dimensions": "6.73 x 5.35 x 0.39 inches; 2.61 Ounces", "Subtitles": "English", "Number of discs": "1"}

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