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

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

An old-fashioned movie made with new-fashioned finesse.

.Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Jack Holt and Lila Lee play a couple of married folks who work for the carnival. When a fight breaks out, Holt accidentally kills a man and is sent to prison for 20 years. However, his wife is pregnant and vows to wait for him. He knows this is NOT practical and he sends a forged letter to her saying he'd been killed while trying to escape. This is because Holt loves her very much and wants her to have a life and not be stuck with a man in prison.Years pass and now Holt is a free man. He wanders about for a few years until he is located, somewhat by accident, by his daughter (Jean Arthur). Arthur is a reporter, so her discovering his identity isn't really that hard to believe. I loved this next portion, as seeing Jean reconnect with her father after all these years of thinking him dead was very sweet--and very well done. Lovely music and cinematography really make these scenes work! Holt has made Arthur to protect his identity--after all, her mother is very happily married to another man AND everyone hearing she is accidentally a bigamist would sure hurt her! However, a bit later, Holt learns that a guy he knew from prison has been accused of a serious crime and he COULD exonerate the man--after all, he knows this criminal is not guilty for this new crime. BUT, to testify would also mean revealing his true identity!! How all this is handled is very exciting and results in an ending you cannot forget.For a simple film, this sure is a good one--a great tear-jerker and a plot that is pretty unique and worth your time. If you like old films, see this one. If you don't, then....well, see it anyway!

I probably never would have bothered with this were I not a big Jean Arthur fan; but even in her oeuvre this is rarely mentioned. That may be because "Whirlpool" isn't *quite* the quintessential Arthur movie (see "Easy Living," "Mr. Smith Goes to Washington," "The Devil and Miss Jones," etc.--now!). Still, Jean's in full blossom here, and well on her way to her glory days. Either way, this is a remarkably entertaining little movie, told in a brisk, energetic, entertaining style that seems to have been practically unique in some ways to the Hollywood of the early to mid-30's. Jack Holt stars as an ex-con who is reunited by chance with his daughter (Arthur) after a 20-year stint in prison: He's high up in the underworld, she's a newspaper reporter. The plot machinations come fast and furious, and contrived though they may be, they are only so in the best way--the way Hollywood could pull this kind of thing off in the 30's. Good performances all the way around, but Holt--often looking very much like Brando's Don Corleone in "The Godfather"--and Arthur carry the show. (Another Godfather mention: Donald Cook, who plays Arthur's boyfriend Bob, looks quite a lot like Al Pacino!) Holt, in fact, really carries this picture, bringing to his Buck Rankin/Duke Sheldon a very sympathetic mix of no-nonsense tough guy and heart, and the relationship between him and Arthur is thoroughly convincing. I have to say that the opening credits had me worried: The "whirlpool" seems to be nothing more than water spinning down a sink! But this is mostly the exception: There's even one montage of father and daughter that's remarkably well-done, almost even poetic in its images and editing. Overall, I wouldn't call this a classic, but if you like Jean Arthur or the movies of the 30's in general, this is a better bet than you might have guessed.

I only caught the last third of this film the other morning, but it was enough to show me what a wonderful job Jack Holt does as a little girl's father. Because even at twenty-one, she is still his little girl. It makes everything that follows worth it. I have two (eleven and five), and the end of the film breaks my heart. Some other films that feature moments of paternal love include: China Doll (Victor Mature); Desperate Hours (Fredrick March); Kramer vs. Kramer (Dustin Hoffman); The Taking of Peggy Ann (look for David Soul on this one); The Green Berets (Jim Hutton); True Grit (the other Duke saying goodbye to Mattie Ross); It's a Wonderful Life (George Bailey with Zsu Zsu's petals); Man on Fire (Denzel Washington parleying for the life of his ward); Twilight Zone - Episode: Little Girl Lost; Way to go, Duke.JKHolman

Jack Holt is great in this rather ornately written melodrama. He plays a man sentenced to prison for twenty years, whose pregnant wife refuses to divorce him. He sends her a letter that he has committed suicide in a way that leaves no corpse. We then fast forward twenty-five years. Jack is now a reclusive night-club owner and his daughter is Jean Arthur, a newspaperwoman who figures out who he is. In order to protect her mother, who has remarried, from public scandal, Holt has to disappear again.The rest of the movie is about the complications surrounding the latter events and Jack Holt gives a better performance than I have ever seen him give, enormously underplayed by his usual standards. Jean Arthur has to contend with some lines that have not aged well, as does juvenile Donald Cook.Nonetheless, throughout all this, the performances as as good as they can get under old hand Roy William Neill. Like many silent directors, Neill had retreated to the Bs -- although this is definitely an A picture from Columbia. Even so, Neill always worked well and carefully and this is a fine effort, the visuals perfect under a crack team of three cinematographers and half a dozen camera operators that included Joe August and Ben Kline.In short, while the dialogue may occasionally make you roll your eyes, everything else about this movie will keep you intensely interested.