This speedy poverty row quota quickly was written with pen in hand and tongue in cheek. It's a super hyper political drama with gangland overtones all done with a cynical newspaper angle. Two men running against each other for public office get their individual chances to speak on the air, and the second candidate (a no nonsense D.A.) speaks out against the first candidate, accusing him on the air of criminal connections. He's boasted that he's about to bust his 13th big wig crook, and falls over dead at a prize fight. Other murders follow, and the dialog just seems to get crisper and more delightfully clichéd as the film nears its exciting conclusion. Women here are just as tough as the men, unafraid of anything. With all this action, intrigue, romance, humor, prizefighting and even a song, there's mo stone unturned in making this amazingly fun.

At the close of the silent period, William Nigh was one of Hollywood's top directors. I know that's hard to believe, but when you've seen one of his big-budget Metro-Goldwyn-Mayer movies like Across to Singapore, you will appreciate that Nigh was a director who really knew his stuff. Unfortunately, he had the bad luck to be assigned to Lord Byron of Broadway, a big-budget movie with a poor script and stars that lacked drawing power when Wall Street laid an egg and movie audiences suddenly became very, very particular on how they would spend their limited cash. So, literally overnight, M-G-M gave Nigh the brush and he found himself in Poverty Row were he carved out a new career for himself as a director who could direct a "B" movie on time and on budget. The Thirteenth Man is one of his more interesting movies, even though the plot fails to play square. Fortunately, most audiences won't notice this double cross because Nigh directs at a fast pace and gets realistic performances from his players. However, I did think Selmer Jackson's efforts were too realistic and that he missed a grand opportunity here to demonstrate that he had real ability and was wasted in support roles like this one.

The story is not quite new: on the night before his almost sure re-election, a D.A. - the kind that 'cleans up' with crime and underworld activities - in a final radio speech announces that immediately after the elections he'll arrest the next underworld leader after the 12 he's already brought to jail; the 13th man... He even names some of the 'candidates': a gambling racket leader, a nightclub owner, a corrupt hospital manager, a newspaper publisher, and even his own political opponent. Not surprisingly, on the same night he's murdered by a poisoned dart in the middle of a prizefight event, and the two reporter friends Swifty and Jimmy set out at once following the trail of blood - and that's exactly where all the suspense and all the atmosphere of this really special 'Poverty Row' masterpiece starts...It's simply a feast for every fan of the reporter movie genre: it gives detailed insight into radio and newspaper work as it was in the 1930s (not that it's TOTALLY changed now: being a journalist will ALWAYS be more or less the same - I'm speaking from experience...), it conveys to you the fascinating atmosphere of the broadcasting studio and the editors' office room; and most of all, it describes the reporter instinct, that driving force that leaves everything else second: when a reporter on a hot trail invites a girl out to an expensive dinner, chances are that the rendezvous will finally end up at a hamburger stand... So the movie tells you clearly what to expect if you fall in love with a reporter - man or woman, no matter; in fact, the protagonist himself explains how things are: "Of course you don't have to be crazy to be a newspaper man, but it does help..." In the meantime, the film also has a unique way of going through literally ALL kinds of emotions: true love, dark tragedy, romance taken lightly until the real feelings break through - and then again covered up by sudden, unexpected jokes; like when the reporter's secretary who's secretly in love with him starts being REALLY alarmed by the many death threats he gets and begs him to lay off the case, grasping him by his jacket: "Oh Swifty, if anything would happen to you, I'd... I'd..." - "You'd what?", he only asks - and there she lets go of his jacket, turns away, shrugs her shoulders and just replies: "Well, I'd lose my job!" And he adds, equally unmoved: "Well, so would I!" ... All in all, the movie is a REAL little gem that shows that a simple, cheap 'little' Monogram movie can be just equally moving and suspenseful as an expensive all-star film from one of the big studios; it's a first-class 'whodunit' that leaves us all puzzled until the end - we may have kind of an uneasy feeling from the beginning about who did it, but it just seems too fantastic, too cruel - so we'll have to wait until that dramatic midnight radio broadcast climax where our reporter hero will announce who the murderer is... Don't miss this one, and don't think it's just another 'assembly line product' - it's REALLY different from most of the rest of them!

"The Thirteenth Man" is a reasonable B-Mystery with a decent plot and enough suspense to keep your attention most of the time. The cast and characters are mostly routine, but Weldon Heyburn does bring some life to the lead role.The story starts when a tough D.A., who has recently put away 12 of the town's most notorious criminals, announces that he will soon target his 13th man. Before he can do so, he is murdered, and two reporters (Heyburn and Milburn Stone, later of "Gunsmoke") decide to investigate, although there are many possible suspects and few clues. While the production itself is strictly low-budget, the murder mystery plot is not bad, without any big holes, and it keeps you guessing to the end.Overall, while nothing spectacular, this is probably better than average for a B-Mystery.