We Who Are About to Die | |
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Directed by | Christy Cabanne James Anderson (assistant) |
Written by | John Twist |
Based on | We Who Are About to Die 1936 book by David Lamson [1] |
Produced by | Edward Small |
Starring | Preston Foster Ann Dvorak John Beal |
Cinematography | Robert Planck |
Edited by | Arthur Roberts |
Production company | |
Distributed by | RKO Radio Pictures |
Release date |
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Running time | 82 minutes |
Country | United States |
Language | English |
We Who Are About to Die is a 1937 American crime drama film directed by Christy Cabanne and starring Preston Foster, Ann Dvorak, and John Beal. It was based on a book, [1] published while on death row, [2] by David Lamson, who was tried four times for murdering his wife before being set free. [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14]
A man is kidnapped by mobsters after quitting his job, then wrongly arrested, tried, and sentenced to death for murders they committed. A suspicious detective thinks he is innocent and works to save his life.
Lamson was hired by producer Edward Small to work on the script. [15]
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Patrick Quentin, Q. Patrick and Jonathan Stagge were pen names under which Hugh Callingham Wheeler, Richard Wilson Webb, Martha Mott Kelley and Mary Louise White Aswell wrote detective fiction. In some foreign countries their books have been published under the variant Quentin Patrick. Most of the stories were written by Webb and Wheeler in collaboration, or by Wheeler alone. Their most famous creation is the amateur sleuth Peter Duluth. In 1963, the story collection The Ordeal of Mrs. Snow was given a Special Edgar Award by the Mystery Writers of America. In 1949, the book Puzzle for Pilgrims won the Grand Prix de Littérature Policière International Prize, the most prestigious award for crime and detective fiction in France.
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I base my view on a 1934 letter that I found in Stanford's publicly available online archives written by Lowell Turrentine, a brilliant Stanford law professor who took an interest in the case. Turrentine argued that the pattern of cuts on Allene Lamson's head — he described them as three horizontal and one vertical — could not have been produced as a result of a fall. One of the cuts had a tear at the end, which Turrentine suggested could have been produced as an assailant clutched her hair and delivered a blow.
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