If you don't like this, we can't be friends.

It's entirely possible that sending the audience out feeling lousy was intentional

A movie that not only functions as a solid scarefest but a razor-sharp satire.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

This film begins with Bud Reeves (Eric Linden) leaving his small home town for a life in New York City. The fast pace of the city is then lampooned in a montage sequence. Yep, the 'big city' certainly is fast...and Reeves is a total boob. This becomes apparent when his cousin (Walter Catlett) preys upon him. Anyone with a dozen functioning brain cells would immediately recognize him as a con man, but dumb ohttp://www.imdb.com/title/tt0022676/usercomments-enterld Reeves lets the guy rob him blind. How can anyone be THAT stupid?! In fact, the Reeves character was awfully broadly written with his "aw, shucks" attitude and wide-eyed innocence. Frankly, he was annoying and completely unrealistic--and this seriously impacted the quality of the film.When the guests to a party that his cousin puts on (despite Reeves paying for EVERYTHING), you may notice Shep--Humphrey Bogart in his first role with Warner Brothers, though he does not receive screen credit. In addition to Bogart, familiar Warner players Joan Blondell, Guy Kibbee and Ned Sparks are in attendance.Lyle Talbot, like Bogart, is uncredited in a small scene--and the two of them get involved in a dandy brawl. Then, when the lights go out you hear a scream. When the fight is over and the lights return, a young girl is dead and everyone scrams. Wow..that Reeves is an idiot--and the cops suspect HE did it! And, instead of going to the police, the idiot tries to leave New York. What a moron!! If you haven't noticed, I have called Reeves 'moron' many times and even for a B-film this is a terribly written character. This certainly didn't help Eric Linden's career, though the stink of this film didn't seem to hurt Blondell or Bogart. It is quite bad, but not bad enough to be anything more than a small speed bump in their careers.Overall, in insignificant and dumb film--and my nominee for the broadest morality tale written in the 1930s. The only people who may want to see it are Bogart fans--otherwise, beware--it's just not worth an hour of your life.

Humphrey Bogart's first appearance in Warner Brothers picture was in a small featured role in Big City Blues which starred Eric Linden and Joan Blondell. It's the story of a young kid from Hoopersville, Indiana who comes to the New York City to seek fame and fortune and gets a great deal less than he bargained for.Linden plays our young man fresh off the farm and the first Linden does is look up cousin Walter Catlett who is playing the usual Walter Catlett sharpie. I do love the way Catlett keeps opening his wallet and to his amazement can't seem to find any money there. He latches on to Linden the way a political 'consultant' latches on to a spendthrift candidate.Of course Linden's arrival in the Big Apple is cause for a party which means bootleg booze, chorus girls, and some dance music. Catlett takes the liberty and Linden's money and room to throw a party so Eric can presumably meet some of the 'important' people Catlett knows. Among the guests are Joan Blondell and a bevy of her chorus girl friends.But things go terribly wrong and one of the girls, Josephine Dunn, winds up dead. When that happens the guests scatter with Catlett the first out the door and Blondell the last, leaving poor Linden holding the bag. Of course Linden panics and spends the next day a fugitive looking for Blondell.Mervyn LeRoy directs Big City Blues at a sprightly pace and when you've got players like Blondell, Bogey, Catlett, and most of all Guy Kibbee playing an oaf of a house detective you know the film will be entertaining. In fact down the cast list you've got Herman Bing as a waiter, Lyle Talbot as another party guest, J. Carrol Naish as the supplying bootlegger, and Dennis O'Keefe in a small bit in a crap game and more besides, you're in for a real treat if you're like me, a big fan of the days when all these faces ruled films. Dick Powell is heard only as a radio announcer.Kibbee by the way turns out to be the hero of the film, but you have to see it to see how he accomplishes that. And of course you have to see what happens to naive young Eric Linden.Some nice blue cracks in this before the Code film pepper Big City Blues throughout the running time. Although one very big screen legend was in the cast, the film is actually a real salute to some of the great character players the movies ever had.

Perhaps to underscore the quick pace of life in New York, "Big City Blues" moves along at a hectic sixty three minute pace, and tries to cram as much action as it can into that amount of time. Willow Station railroad agent (Grant Mitchell) has been there and done that, and bets a ten spot with a buddy that anxious traveler Bud Reeves (Eric Linden) will be back within a month.For his part, Bud is flush with enthusiasm and eleven hundred dollars and ready to make his mark on the big town. He's met by fast talking cousin "Gibby" Gibboney (Walter Catlett), who has a knack for getting others to pay his way, and completely monopolizes the conversation in every scene he's in. He's on a first name basis with a few up and coming showgirls, particularly cute Vida Fleet (Joan Blondell), who immediately becomes fond of the rube from Hoopersville, Indiana. Things move a bit too fast though, as Gibby organizes a welcome party for Bud in his room at the Hotel Hercules, and all manner of show biz types begin to arrive, among them Shep Adkins (Humphrey Bogart). Shep is about to move in on Len Scully's (Lyle Talbot) girl, Lenny objects with his fists, and a brawl breaks out that leaves the young showgirl dead.Not knowing what to do, young Bud follows the example of everyone else at the party, he high tails it before the law can arrive. Night watchman Hummel (Guy Kibbee) revels in his five minutes of fame for finding the dead victim, while detective Quelkin (Thomas Jackson) tails Vida who he hopes can lead him to Bud Reeves, guilty until proved innocent. By accident, Hummel solves the case by going for his whiskey bottle in the hotel linen closet, where he finds Scully's body, a suicide victim with a shard of the broken bottle that neatly fits with the piece recovered by the police.Back at Willow Station, it only takes the railroad agent three days to collect on his bet, as Bud gratefully touches down on home turf. He still has visions of grandeur for life in New York, but has grown up enough to have some patience for it. Maybe next time, things will work out a bit better.By 1932, Humphrey Bogart had a handful of movie credits to his name, but nothing significant as of yet. That was about to change with his next film, "Three on a Match", which also co-starred Joan Blondell. Both would work together two more times, in 1936's "Bullets or Ballots" with Edward G. Robinson, and the 1937 comedy "Stand-In". All are recommended for fans of either, while "Bullets or Ballots" is a fine early example of the mobster genre made popular by films like "Public Enemy" and "White Heat".

Big City Blues is a marvelous reminder of the vibrancy of American cinema in the early sound days. Directed by the always reliable Mervyn LeRoy, the film features uncredited performances by a wonderful cast, including Humphrey Bogart, Lyle Talbot, Dennis O'Keefe, Dick Powell (hilarious as the voice of a radio ad-man expounding on the virtues of Yum Yum brand popcorn), and Clarence Muse (who delivers some terrific singing in a speakeasy scene), as well as Joan Blondell as the brassy showgirl with a heart of gold, Eric Linden as a smalltown rube, and especially Walter Catlett as Linden's Cousin Gibby, who's responsible for most of the trouble that takes place. Written by Lillie Hayward, the script is hilarious, intelligent, and insightful, especially when it pokes fun at the peccadilloes of big city life. Bogart has a particularly juicy line when, reading from a newspaper, he informs partygoers that the police have recently picked up a criminal with "a handgun in one pocket and a lipstick and powderpuff in the other"! The same party sequence also features the sight of a nervous young lady reading from the infamous (and much censored) lesbian novel "The Well of Loneliness" by Radclyffe Hall. In short, this is a fine example of pre-Code filmmaking and should be of interest to all fans of 30s cinema.