Steineded How sad is this?

Console best movie i've ever seen.

Pacionsbo Absolutely Fantastic

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

MartinHafer In the 1930s and 40s, Hollywood made tons of mystery films in which private citizens outwit the cops and solve crimes...usually murders. There is a certain sameness to the plots and at least "Tell No Tales" offers a few changes to this formula...the best of which is having it star Melvyn Douglas--a marvelous and versatile who is one of my favorites.When the story begins, a newspaper is celebrating its 75th anniversary. Unfortunately, just after the festivities begin, the editor, Michael Cassidy (Douglas) learns from the paper's new owner that he's shutting it down....selling it because he never really wanted to own the business, just make a buck splitting it apart!Naturally Michael is in a funk and he ends up in a local bar. Instead of getting wasted, however, he stumbles upon something which MIGHT help him keep the paper going. One of the bills the bartender had given him turned out to be from a ransom! So, Michael decides to investigate it on his own instead of just passing on this information to the police.As usual, Douglas turns in a nice and apparently effortless performance. I appreciate how his newspaper editor character differs from the abrasive characters usually played by Lee Tracy (he played newspaper men A LOT).Unlike most murder mystery B-movies, this one is from MGM...a big studio. While the big studios did make Bs, when it came to murder mysteries, the smaller studios glutted the market....and too many of these films from Monogram, Republic and PRC are inferior in most ways. Here, however, the writing is nice, as is the music, supporting characters...heck, everything is quite polished and nice here. Well worth seeing, though clearly one of Douglas' lesser films.

blanche-2 Melvin Douglas stars in the 1939 B movie, Tell No Tales.Douglas plays Michael Cassidy, who is the editor of a newspaper whom he's told is about to close its doors. In the meantime, a rag has been sensationalizing a kidnapping; a witness (Louise Platt) is being kept a virtual prisoner at the school where she teaches. While Mike is having a drink in his usual bar, the bartender checks a list and realizes that he has one of the bills the kidnappers received. This gives Mike the idea of tracking down and catching the kidnapper himself and giving his newspaper a great final issue.I often wonder how Melvin Douglas must have felt, breezing his way through one film after another, possibly knowing that he was one of the finest actors of the century. It was a talent he wouldn't be able to show until he was an old man, but when he did, one saw how wasted he had been all those years. He's wonderful here in a spirited performance.It was nice to see Mantan Moreland and Theresa Harris in this film, as they were two black actors deserving of more recognition. Moreland is probably best remembered as Birmingham, Charlie Chan's chauffeur. He had a friendly face and an enormous comic talent. Theresa Harris for some reason had better roles in precode films than she did later on. I suppose in a way this is a film about wasted talent - Moreland and Harris, a beautiful and sexy woman, were victims of their time and Douglas was in a groove from which he did not escape until much later.Good movie with some very good performances.

Robert J. Maxwell There aren't too many surprises in the casting. Melvyn Douglas is the dedicated editor of a newspaper about to be closed by the ruthless owner. The day before doomsday he stumbles across a counterfeit bill that was involved in the unsolved kidnapping of a child and is determined to track down the source of the bill. (No doubt the Lindbergh case of a few years earlier was still fresh in the public's mind.) He's tipped off by the friendly bar tender. Take a guess at the bar tender's ethnic background. When he hears about the paper's forthcoming closure, he tells Douglas, "I'm THAT sorry." The minor characters are all well developed, especially the first person connected to the counterfeit bill, a little man who is about to be married to a chinless cartoon of a wife with a voice like an air raid siren and whose hefty future mother-in-law looks like the spawn of Mighty Joe Young. The dialog is both functional and colorful. An opratic soprano has "a nice voice and a nice heart -- like Grant's Tomb." Later she's described as "smooooth, with a heart like a banana split." The film isn't carelessly done.Douglas Dumbrille is the Philistine newspaper owner who cares only about money and nothing about tradition or truth. Zeffie Tilbury is the paper's oldest employee, a humble but spunky proof reader. We need more of them in our schools.I guess Louise Platt as the endangered witness to the kidnapping is a surprise. She's a pretty woman with an impish nose and a pouty expression. I never noticed that she had such a marked overbite when she played the aristocratic officer's wife in "Stagecoach." She could win a corn-eating contest at an Iowa picnic. She has an undeniable physical appeal but I don't know about her acting range. She only gets to smile once, at the very end of the story, and one can almost hear the creaking of long-dormant facial muscles.It's lively and coherent, in contrast to so many dull movies from minor studios that are now in the public domain. I got a kick out of it.

kidboots Leslie Fenton, as an actor, had been around since the late 1920s, mostly as not very likable gangsters or crooks and because he was never the star always disappearing about half way through the movie. I always liked him, mainly I think because he happened to win the heart of one of the most beautiful and unusual of the early thirties actresses - Ann Dvorak. He stopped acting in the late thirties (one of his last roles was in "Boy's Town") and had a brief period of directing shorts. "Tell No Tales" was his first feature and his best.Melvyn Douglas plays Michael Cassidy, a managing editor of a reputable newspaper "The Evening Guardian" that ceases publication on it's 75th anniversary. It has been closed down by Matt Cooper (Douglas Dumbrille), owner of a rival newspaper which happens to be a "yellow" tabloid. Despondent at the thought of all the staff losing their jobs he cashes his pay check at the local bar and receives one of the $100 bills used in a kidnapping ransom - a case that is sweeping the city. It is the first break in the case and Michael is determined to break it so the paper can go out with a bang!!!Ellen Fraser (Louise Platt) a young teacher at a private school was the only witness and is under 24 hour police protection. Cassidy manages to squirrel the girl away from her "prison" but while they begin to hunt for the kidnappers (by tracing the path of the $100 bill) they, in their turn, are followed and it isn't long before Ellen disappears only to re-emerge a few minutes before the ending. Cassidy then plunges into tracing the bill's journey, from a disgruntled would be bride groom (and according to the fight that ensues when Cassidy leaves, never to be!!!) to a wealthy society wife with something to hide ("you told me you were through with him" he husband (Halliwell Hobbes) hisses!!) to a confronting and touching Afro-American wake. It was a dramatic breakaway from the stereotypical depiction of black people at that time. Mantan Moreland was one of the guests and it gave a poignant acting opportunity to Theresa Harris and the marvellous old Griffith actress Madame Sul-te-Wan ("Hoodoo Ann") as the grieving mother.I liked the way the plot led to some tantalising, unrelated gossipy bits (the bridegroom and the society girl) - we never find out whether Hobbes kills his wife as he lunges for her, the camera just continues with the main story. I thought the movie was exciting and fast paced. I also liked the fact that two of the co-stars, Douglas Dumbrille and Gene Lockhart, two very oily villains of the 30s, pop up in quite ambiguous roles - especially Lockhart as Arno, a quietly spoken, canary loving gambling den proprietor!!