“COURTROOM HIJINKS”

By Raymond Benson

The 1948 courtroom drama, I, Jane Doe, directed by John H. Auer and starring the inimitable Ruth Hussey as a defense attorney who displays feminist tendencies before that word was in the public vernacular, is a well-acted, twisty-plotted, and entertaining B-movie flick from second-string studio Republic Pictures—except for one thing… the trial and all the aspects associated with it (legalities, procedures, and “how a criminal case works”) is absolute nonsense.

It’s as if screenwriter Lawrence Kimble made up a courtroom drama based on what he’d seen from other movies of that ilk without ever studying the law as it applies to a trial. In no way would our heroine, Eve Meredith Curtis (Hussey), be able to insist on a retrial of a convicted murderer (in this case, “Jane Doe,” played by Vera Ralston) on the basis that Ms. Doe had refused to reveal her real name or present a defense for herself in the first trial. Secondly, the second trial is presented with the defense leading off the process and calling witnesses before the State does. What? All the prosecutor (Gene Langston) can do throughout it is to object, only to have the objections mostly overruled by an unbelievably sympathetic judge (James Bell).

“Jane Doe” shot Stephen Curtis (Eve’s husband, played by John Carroll) one day in his New York apartment. The evidence is clear. She did it. She is tried and sentenced to the electric chair. However, it is then revealed that she is pregnant with Curtis’ child. Jane delivers the baby while in prison, and the execution is rescheduled. Before that can happen, though, Eve (who had retired from law practice to become Mrs. Curtis years before) decides to talk to Jane and find out the real story behind it all…and then re-enters her practice to get a re-trial for Jane. As if it were that easy. Of course, as the second trial progresses, we learn Stephen Curtis’ secrets, the truth behind Jane Doe and her identity, and that Eve has secrets of her own.

Despite the ridiculousness of the legalities in the story, I, Jane Doe does manage to be an engaging near-90-minutes of cinema. Hussey carries the picture with aplomb. Ralston is also effective as the accused, and Carroll is suitably caddish for his role.

Kino Lorber’s new high definition restoration looks quite good. Unfortunately, there are no supplements other than trailers for other Kino Lorber releases.

I, Jane Doe may have courtroom hijinks in the plot, but it’s still an appealing melodrama, thanks to Hussey and the basic story twists that keep us guessing.

CLICK HERE TO ORDER FROM AMAZON