Murder by Invitation

An old lady is taken to court by her heirs because they feel she is wasting her fortune and that she should be put away for her own safety. Turning the tables on the greed family in the courtroom she insists that any of her heirs who want a piece of her money show up at her house that night. What happens next is a very enjoyable murder/comedy as people start dying as every scrambles to find the fortune.

Anyone expecting anything other than a silly time should stay as far away from this movie as possible. Yes, there is a mystery, but there are a good bunch of laughs as well, as reporter Wallace Ford and his girl wander among the crazies trying to get a story while trying to stay alive.

I really like this film, especially the old lady that who is smarter than the relatives who are trying to put her way. This is a good friend of a movie that I'll take out now and again when I need to just sit and veg.

If you come across it, by all means give it a try, we all need to laugh now and then.

This is a comedy using the murder mystery genre as background. The main characters are a bit stiff - especially considering this was made in 1941 - but it's not a bad hour spent. The story revolves around old aunt Cassie, whose odd 'uh-heh' laugh is closer to caricature than character-defining. The newspaper columnist who serves as the detective in this film, is played by Wallace Ford. He and his secretary (?) and photographer play their stereotypical roles no better than the stereotypes you'd expect. The sheriff - presumably from New York somewhere, as that's where the court case was heard - sounds more like an Okie than an upstate New Yorker, and follows his own stereotype of the hayseed lawman, accent included. Of course, he's a buffoon as well, asking the newspaper columnist for advice at every turn.

So we know the flaws. Still, this was a B movie, intended as filler, and that's how we should judge it. There's nothing about it that made me want to hit the stop button - unlike some stinkers - and for fans of 1930s mysteries, it's an acceptable detour into comedy. Not laugh out loud comedy, but light amusement. It's out of copyright, and I found it on a 5 CD collection Mystery and Murder: 25 Crime Classics at my library. So it was worth every penny I paid for it.

"Murder by Invitation" is a B film from 1941 starring Wallace Ford as Bob White, a reporter who covers the trial of an elderly woman (Sara Padden) whose relatives want to have her declared insane so they can have her $3 million. She proves that she's very far from insane in an amusing court scene.

She then invites her family to her estate for the weekend. She wants to observe all of them and decide which family member is most deserving of her money. She wants them to arrive at midnight, which makes some of them nervous. Not long after they settle in, relatives start dying.

Good B with Wallace Ford and Marian Marsh as an attractive couple, and Sara Padden is quite sprightly as the dowager. The end is interesting and fun.

Talk about screwy films! "Murder By Invitation" almost takes first place! A daffy old lady, Aunt Cassie (a terrible performance by Sarah Padden who seems to be reading her lines off of cue cards) invites her greedy relatives to her country estate for the weekend and murders start to pop up all over the place. A reporter (Wallace Ford) and his secretary (Marian Marsh) arrive at the estate to get the scoop. Minerva Urecal (whom I usually like) overacts here as one of Aunt Cassie's relations. J. Arthur Young is totally offbeat as Trownbridge Montrose (Aunt Cassie's neighbor). Dave O'Brien is good, as usual, though as the estate's chauffeur. Zany dialog is almost unbelievable at times and Ford (although likable) is too old to be pretty Marsh's sweetheart boss. In spite of itself, "Murder By Invitation" is a film that works, although I don't quite know how!

This is the kind of film, where you will really have a hard time deciding if you like it or not. Basically it is nothing more than a very, very clichéd murder mystery, but it is fully aware of that and make no secret about it. And that is what almost saves this one. But only almost.

There is nothing here that we haven't seen dozens, hundreds of times: old rich lady with greedy relatives, who are all sweet and lovely with her in one minute and try to put her in an asylum the next. We have the ambitious, but pretty much clueless local sheriff, the clever reporter (Wallace Ford), who does all the job the police should, his pretty assistant and all those other stock characters that pop up at all the similar films. Did I mention the old house, filled with hidden corridors? And that the old lady decides the invite all the would-be heirs to her house at midnight? Sounds familiar? Sure it does.

But what makes this one stand out is that it is not just completely aware of its clichéd nature, but actually makes fun of itself all the time. And these in-jokes provide easily the best moments of the movie. The scene where Ford states, that he can't die, as he is the handsome young hero or when they even go as far as mentioning their most obvious inspiration, The Cat and the Canary (which had a hugely successful remake two years before this came out), referring to its similar invited-at-midnight theme...? Priceless! But my personal favorite is probably when Ford states that "There comes a time in every murder mystery, when all the corpus delicti are missing and it generally happens just past the middle of the picture." Guess what happens in the movie and when. But we even know who's going to be the first victim, way before the actual murder takes place. This self-reflection really works fine.

The problem is that beside this the film has nearly nothing to offer. The screenplay is pretty badly written: the opening scene at the court already puts our expectations pretty low (the wisecracking lady is pretty funny, but the lawyer's complete lack of evidence make the whole scene very awkward), no surprises, no suspense, the characters are mostly very shallow (after they get killed, you will have a hard time remembering who some of the victims were) and even the motives are rather pointless. And while the actors are OK, there aren't any memorable performances.

Too bad. With a bit more effort, it could be a little gem, like the rather similar, but far superior One Frightened Night (1935 - also starring Wallace Ford), which worked wonders with its similarly minimal budget. But this way, this hardly passes as a time-passer.