From title to final fade-out there is nothing new, nothing unexpected in this satisfying grade-B picture. But at least nothing is left out. First there is the stock shot of the Manharian sky-line. Then the murder, the sirens and the police-radio, the scene in the D. A.'s office with the reporters. After a short sequence in the jail with the stircrazy cell-mate, the court-room scene begins. It involves a dead-locked jury and a new witness before everything winds up happily, the mystery is unraveled, and the newspaper headlines proclaim the verdict. Amazingly enough, "The Man Who Wouldn't Talk" turns out to be fair entertainment. The plot may unfold slowly and the suspense be nil. But it for that reason creates a mildly pleasing sort of complaisant interest--relaxing and free from extremes of emotion--that Hollywood never aims at and seldom produces.

Co-featured is "He Married His Wife" which reunites divorcees Joel McCrea and sassy Nancy Kelly after forty-five minutes of night clubs, racetracks, and Mary Boland's screwy country villa. In the course of the action Miss Kelly manages to appear in a nightgown twice, once in her chemise, with a bathing-suit shot in for good measure. There are numerous bedroom scenes in which Joel McCrea impersonates a mouse, a rat, and a sleep-walker. His hiding places are, respectively, the closet, underneath the bed, and the bathroom. To fill in the dull moments there are a Yoga, an English butler, Cesar Romero, and Mary Boland. Cesar Romero's typical line: "I know what I want and I'm going to get it."