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Back in Circulation 1937
Description: Morning Express ace reporter 'Timmy' Blake uses her wiles and charms to receive the scoop on rival papers, and hold her editor happy. When the Express gets a hint that a wealthy old boy was poisoned and 'Timmy' spots the young widow in a nightclub only a day later, she descends on the city where the death took zone to dig out the facts. When her reporting effects in the arrest of the young widow, 'Timmy' continues to dig, since she isn't quite convinced that the facts she reported cover all the angles.
Released: 25 Sep 1937 Director: Ray Enright Writers: Warren Duff (screen play), Adela Rogers St. Johns (from a story by: Cosmopolitan Magazine) Actors: Pat O'Brien, Joan Blondell, Margaret Lindsay, John Litel Genres: Comedy, Mystery, Drama
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Back in Circulation Reviews:

This is in many methods typical of the comedy/drama/love story/mystery/social message weak budget very entertaining films that Warner Brothers so excelled at in the 1930's. Having been done before in some variation as The Front Page, Front Page Woman, and One Fatal Hour, 1937's Back In Circulation is equally entertaining. Most notably due to the delicious Joan Blondell, a very engaging and effective actor. Her unbelievable performance in Back in Circulation makes this one of my favourite films from this era.Like all of the another incarnations of this primary premise, this screenplay has its own special set of characters and circumstances. Joan Blondell plays "Timmy" Blake, the star reporter for The Morning Express, who is possessed of an utterly inexplicable crush on her boss, Bill Morgan (Pat O'Brien), your primary jerk, and we are said that she has in the past gone to nice lengths to receive the scoop, including stealing evidence and committing perjury. During the course of our story, however, her conscience starts to catch up to her when she finds herself convinced of the innocence of wealthy Arline Wade (Margaret Lindsay), a girl accused of murder that is all but convicted in the pages of The Morning Express. Naturally it is Timmy's cleverness and resourcefulness that gets the storyline in the Express in the first place, and it is she who gotta solve the mystery in order to extricate Ms. Wade from a miscarriage of justice. This is all done with appropriately placed poignancy and lighthearted comedic overtones. Timmy belting a sleazebag gigolo unconscious with her excellent right hook ("Beg pardon?") and her screaming "fit" in the road during the stage that leads us into the movie's conclusion are particularly hysterical.Yes, the storyline is full of laughably implausible peculiarities (it is obvious film producers of that era did not consider their audiences as savvy as those of today). On what planet would a struggling reporter living in a two-room apartment be able to afford a closet full of designer gowns and a maid?! These were true reporters, mind you, not the pampered addle-brained news spokes-models of today. It is likewise ridiculous to imagine that a reporter armed with nothing more than an anonymous note (another plot hole, we never are said where this note originated) should walk into a coroner's office and have a burial stopped and demand an autopsy be performed. It's a testament to how entertaining this movie is that you don't really notice this sort of thing until after the film is over and you've had time to think about it.I am unsure how Pat O'Brien scored top billing in this vehicle, as it would be lost without brilliant and pretty Joan Blondell, who appears in nearly each stage and certainly outranks O'Brien in both screen time and importance to the plot. The cast is filled out quite nicely with familiar faces from Warner Brothers stable of commendable talent, including John Litel, Ben Welden, and Granville Bates as the coroner. Also hold your eyes on the uncredited generic reporters that create up the press pool in the Plattstown sequences, one of them is DeWolfe (later William) Hopper, who in twenty years time would become Paul Drake on the TV series "Perry Mason".


There were a several movies in the '30s that set the scene for a lot of imitations. One was "It Happened One Night," which gave rise to variety of movies about heiresses, and the another was "The Front Page" from 1931, about a reporter and an editor. "Back in Circulation" is the latter, from 1937.Here, the reporter is pretty Joan Blondell, as sparkling and energetic as ever, and her editor is Pat O'Brien (who also appeared in "The Front Page"). Blondell is Timmy, a crafty reporter nice at getting in on the most necessary stories, no matter what she has to do. O'Brien is Bill Morgan, who knows Timmy is the greatest and is constantly sending her out.When a wealthy boy dies, Bill receives a letter telling he was poisoned, so he dispatches Timmy to investigate. She's able to stop the funeral and convince the medical examiner to do an autopsy. Turns out he was poisoned, and suspicion falls on his wife (Margaret Lindsay). The paper goes after her in a large way, but after Timmy spends some time with her, she starts to suspect that the widow is innocent and hiding something. This puts her at odds with Bill.Thanks to Blondell's performance, this film manages to come off, though it isn't the tightest script. It flip-flops between comedy and massive drama, and the alliance is uneasy.John Litel and Regis Toomey are featured. Lindsay gives a '30s-style performance, and today it sticks out as being melodramatic. That was the style, and that's the method many roles were written. This was on its method out of style due to stars like Bette Davis.Entertaining. Everytime a pleasure to see Blondell in a film.


If you are a fanatic of 1930's Warners, you can't miss this one. Joan Blondell is Timothea "Timmy" Blake, ace reporter for editor Pat O'Brian's headline screaming tabloid. The plot races around a "show woman with a past", the improbably cast, sweet-faced Margaret Lindsey accused of poisoning her no-good older husband whom nobody misses. Timmy doesn't purchase it, but she helped build the situation for indictment. Lindsey is in love with the nice doctor John Litel for some reason even though he seems a bit thick. Go figure. It's all wrapped in a furious flurry of patented Warner's can't -wait -to -get -home speed with what gotta be 14 lbs. of dialogue crammed into an hour- fifteen or so. It's Blondell's film and she is feisty, sexy, everytime surprising and has a mean right hook. Pat O'Brian was some type of master at machine gunning lines out of an immobile face. For a large boy who moves slowly, he can sure slash with the greased patter. The WB hero roster, everytime a reason to watch these films, is well-represented by Regis Toomey, Eddie Acuff, and the everytime amusing Granville Bates. You won't have a possibility to breathe.



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