Nifty little second feature, with a non-cliché plot. I like the way the radio station studio is worked into the narrative. For oldsters like me, it's a trip down memory lane; for youngsters, it's a glimpse of communications before the I-Pad. It's a lively hour with an energetic cast, plus a neat twist at the end, though the in's-and-out's of the murders are sometimes hard to follow. And catch the snappy patter between the newspaper folks, something of a Hollywood cliché of the time. But what always amazes me in these budget features is how folks with big hats can speed down the highway in a convertible without the least windblown effect. Oh well, thanks for rear projection screens that made so many of these B-features commercially possible. No, nothing memorable here. It's just the Hollywood movie factory operating in smooth and entertaining fashion.

This is a terrific RKO B, directed by sure-footed Leslie Goodwins. Aside from excellent performances (including one of Richard Lane's best as a REALLY fast-talking reporter), this picture has an ace radio dramatist who happens to dabble in magic on the side. Hmmmm...remind you of anybody?? Kent Taylor even shaved off his moustache to further pull off the Welles masquerade. A cute nod to the very popular Mercury Players, who were popular on CBS in 1939. The funny part is that Taylor works for a powerful publisher! Paging Mr. Hearst. Paging Mr. Kane. Talk about shades of things to come. Anyway, all that aside it's a fairly clever mystery and a great chance to see OLD DARK HOUSE's Lillian Bond go totally off her nut. And Thurston Hall has a wonderfully comic bit in the first reel. This is pure B-fluff, but if you enjoy great contract players doing their thing as they can only do it, you'll have fun with SUED FOR LIBEL.

The studios cranked out a lot of this type of film in the 1930s and 1940s, and this is an example of how cheap and silly they could be. The film overuses what begins as an interesting plot device - a radio dramatization of the news - so that it becomes flatly ridiculous. The story is way too complicated and progressively harder to follow as the picture progresses. The acting ranges from colorless (Kent Taylor) to hilariously over-the-top (Lilian Bond). In short, this is a real time-waster.

This taut mystery, filmed just before "noir" began, is genuinely suspenseful. It has a wonderful jazzy rhythm.The scenes in which a radio show is being broadcast are fun and -- it seems -- accurate. Keye Luke is as always an asset, here as one of the radio players.Linda Hayes is a great, angular heroine, looking a bit like Katharine Hepburn. And Lillian Bond, in a crucial role, looks fabulous --especially with the wind blowing her hair in a convertible. She looks a little like Clara Bow and a lot like someone who could have been a star in the 1970-90s.Calling all cars: Be on the lookout for this little gem!