Arthur Ferguson Jones (Edward G. Robinson) is a meek studious clerk. He's late to work for the first time. His supervisor had been told to give him a raise but is also told to fire the next person late to work. Wilhelmina Clark (Jean Arthur) walks in right after Jones and gets fired. Then she notices a $25k reward for escaped criminal Killer Mannion who happens to look exactly like Jones.

The premise is great. Of course, the duo Robinsons is inevitable. There is an issue with leverage. Without leverage, the story stops making sense. The easiest solution would be to have Jones kidnapped and simply have Mannion pretend to be Jones all the while. One thing is for sure. I never knew that John Ford made screwball comedy. Robinson is having fun with the duo roles.

I don't think there's anyone who's ever seen The Whole Town's Talking and doesn't believe this was a film intended for Frank Capra. The mere fact that the screenplay was co-written by Robert Riskin who won an Oscar together with Capra for It Happened One Night the year before should give ample indication. If Capra had a choice between this and Broadway Bill he chose wrong.

Although this kind of comedy is not usually what is found in John Ford films, Ford does OK by it. I don't think he ever directed again anything that could be remotely classified as screwball comedy.

Edward G. Robinson who would make his second and last appearance in a Ford film 34 years later in Cheyenne Autumn, plays a dual role. He plays Killer Mannion in the tradition he established as Little Caesar and also A.L. Jones a meek, mild mannered clerk a type Robinson would play later in Mr. Winkle Goes to War.

Mannion's escaped from prison and there's a manhunt on for him, similar to the kind that was on for John Dillinger a year earlier. The police will simply shoot to kill. Bad luck for a guy that looks like Mannion and worse luck when Mannion finds out about his doppleganger and tries to make use of him.

Robinson is fine in his dual performance, but the film was a milestone for Jean Arthur who plays Robinson's fellow employee and despite his being a milquetoast, she sees something in him. Up to this point Arthur had played a lot of ingénues and loyal wives to leading men. This is her first role in a screwball type comedy that she became known for, in fact what she's remembered for mostly. Of course a year later, Harry Cohn did team her with Frank Capra and they certainly made some cinematic history.

My favorite two supporting parts are Etienne Girardot as Robinson's officious little office manager and Donald Meek another milquetoast who originally mistakenly turns in the clerk as the gangster and stays on the 'case.'

Though he's not in his element John Ford serves a nice piece of entertainment.

I really liked this film. The film has a lot of depth and yet has been mostly forgotten today. It just goes to prove that Edward G. Robinson can do more than just play the gangster. In fact, in this movie he plays BOTH a gangster and a wimpy middle-aged man who LOOKS like the gangster.

The movie does not really show the mad dog gangster much but centers on the wimpier character who is often mistreated and under-appreciated by those around him. When, by chance, he is mistaken for the mobster, the fun begins and it all works together for a charming little 1930s Hollywood ending.