User reviews

The Kennel Murder Case (1933)

A precursor to the Thin Man series, starring William Powell as a detective (but without the very supplementary Myrna Loy). And this is directed by none other than Michael Curtiz ("Casablanca" and "Mildred Pierce"), and you can often tell, scenes characteristically complex with lots of people and foreground/background. As a whole the movie races along, to the point that the huge cast (all introduced with visual vignettes at the start) is confusing. But hang in there. because a third of the way through Powell kicks in full time.

There are few actors like William Powell in the history of American film. He is peculiar in charming ways, and makes no bones about it. He lacks any sense of what we might think of as cool or hardness--there's no Bogart in him, no Cary Grant of course, nothing but what a character actor might have. And he made it a virtue, visible even here. The rest of the cast is good or very good, with a few other recognizable faces, and it gels increasingly as you go until a series of dramatic whodunnit style conclusions wraps it all up.

Powell's detective, Philo Vance, was a snobby socialite, and the plots have a quality of private detective vs. police (which gets used in a lot of these kinds of series, of course). There are four movies with Powell playing the part (and many others with other actors in the role. This is the fourth, and best of them, the first going back to the dawn of sound, 1929. It's not as slick or warm (or sophisticated) as "The Thin Man" series, which is a high water mark of the effete detective, but it's terrific in its own way, and really well constructed. I'd not miss it.

The first thing I liked about this mystery movie is that the early minutes of it are packed tightly with lots of storyline. And this is a somewhat complex story, particularly for a time (1933) when such movies tended to be rather light. Pay attention here or be lost! It's also nice to have a different setting...a kennel club (at least early on in the film)! Novel! Philo Vance (played wonderfully by William Powell) isn't as smooth and sophisticated as Nick Charles, and there's not the witty banter between man and wife you find in the Thin Man series, but this is a good character. And, you'll see lots of character actors you'll recognize (although probably not by name). Of particular note is the gravel-voiced Eugene Palette (and if you want to read an interesting bio, Google him). Also look for Ralph Morgan, lesser-known brother of actor Frank Morgan; you'll see the resemblance.

I won't recount the plot. It's almost too complex to do so, but I'll just repeat that this is a sophisticated mystery for 1933! Recommended!

In the 1920s and 1930s Philo Vance became a household name with publication of the wildly popular S.S. Van Dine (alias for Willard Huntington Wright) novels featuring the patrician amateur detective.

Though Kennel is one of the better Philo Vance novels, this adaptation of the eponymous book represents the rare case where a film is better than the original story (which would not film well if precisely represented on screen because of (1) the psychological issues which would be hard to depict, and (2) the novel's culminating violent scene, which the film modifies).

The genius in taking one of the lesser of the canonical Philo Vance novels and making it into a classic is, of course, Michael Curtiz's direction; Curtiz being an exceptionally talented director who has, perhaps, the misfortune of being eclipsed by the fame of his films (e.g., Casablanca, Mildred Pierce, and The Adventures of Robin Hood) because of lack of a distinctive style.

This film is also a successful example of an early talkie: the sound is fairly good except in some scenes where the boom is obviously too far away, and in one shot (between Robert Barrat and Helen Vinson) we actually see the microphone! Some of the actors are clearly still making the silent-to-sound transition, but the performances are uniformly good. The key scene stealer is Etienne Giradot, who plays the Coroner, Dr. Doremus. Indeed, his performance is so endearing he reprised the role in other Philo Vance films.

While it becomes fairly easy to guess the culprit, the film doesn't suffer for this because of the excellent direction, good sets and wardrobe (check out Mary Astor's chic outfits!), and fine performances. (Though primarily loved for his work as Nick Charles in the Thin Man films, William Powell gives one of the best (and most subtle) performances of his career in Kennel.) Besides its status as a Hollywood classic, Kennel is an outstanding example of successful story adaptation and early sound film-making. (One can also see some noir hints later fulfilled in Curtiz's Mildred Pierce.) Highly recommended.

One of the better Vance films succeeds more on interesting plot and artful direction by none other than Michael Curtiz. This time around a generally hated financier is found dead - shot in the head - in his locked and bolted bedroom on the upper floor. Philo Vance, hearing of the situation while about to set off for Italy, decides to end his vacation and try to solve what he thinks is a murder and what everyone else is considering a suicide. William Powell is as affable a Philo Vance as you will find. He never seems to press and is always very smooth in what he says and does. Powell is aided by a host of very talented actors - some first-rate character actors and actresses like Mary Astor as a niece that hated her uncle, Ralph Morgan as the dead man's secretary, Paul Cavanaugh as a rival dog fancier, Arthur Hohl as a mysterious butler, Helen Vinson as the next door kept blonde, and two really good performances by James Lee as the Chinese cook and portly Eugene Palette as a wise-cracking police detective. Add into the mix a wonderfully comedic turn by Etienne Girardot as a public coroner always missing his meal. It is this depth of suspects and a story that has many plots twists and turns that make The Kennel Murder Case a fast-moving, fun mystery.

William Powell plays Philo Vance for the last time in this enjoyable Warner Brothers B murder mystery. Because it is a B, there are some problems with the script and some problems with the art design. I'll get into that later.

Vance is at a dog show on Long Island showing his Scottish terrier Captain. This is where we meet Archer Coe (Robert Barrat), also a dog show enthusiast as well as a collector of Chinese Art who has an unfaithful mistress (Helen Vinson). Coe argues with and crosses just about every character in the film. Coe is discovered dead the next morning, a bullet in his head, the gun that shot him in his hand, a head wound from a blunt instrument, and a stab wound in his back with his bedroom door locked from the inside. The police are about to call this one a suicide(???) when enters Philo Vance to systematically figure out who did it. Oh, and there is an additional body in the foyer closet.

Powell is great here as Vance, the perfect combination of masculinity and sophistication. He played the same role over at Paramount three other times. Oddly enough, Eugene Pallette as Sgt. Heath is ported over here in the same role he played in the other films. He is the same kind of sidekick cop that Guild (Nat Pendleton) was in The Thin Man. He probably would have never found the body in the closet and had Coe ruled a suicide if not for Vance, but his self esteem is never bothered by this and the two play off of each other perfectly as old pals.

Michael Curtiz' direction gives this B some extra punch, and I never thought I'd see Jack La Rue convincingly play an effete Italian after having seen him as a ruthless thug in "Story of Temple Drake", but he does pull it off.

There are a couple of holes I will just mention. First, before Coe is murdered, the dog of one of his foes is kidnapped and killed. The killer of that dog is never discovered nor is it even mentioned later in the film. Next, when Vance is describing how the murders were carried out, he has a set of detailed miniature models of the buildings involved in his explanation of the crime. These models can be broken out with detailed sectional views of each. Where on earth did he get such a thing on short notice?

Suicide or Murder? When the much hated Archer Coe turns up dead and is believed to be a suicide, Philo Vance and Detective Heath steps into the scene to find out why a rich man would consider suicide as an option. Things become a bit stranger when Archer Coe's brother, Brisbane, turns up dead in a closet. Vance and Heath enlist the help of poor Dr. Doremus who never seems to get a chance to eat while this investigation is going on. It must be murder - but who and why?!

A film I really enjoyed watching! It's a mystery film that is peppered quite a bit with comedy. Detective Heath is the funniest - and has an outstanding speaking voice! Dr. Doremus is very funny as well! Two of my favorite characters in the entire film.

8.5/10

The film starts in the Long Island Kennel Club where is murdered a dog,later is appeared dead as a case of committing suicide a collector millionaire called Arched,but sleuth debonair Philo Vance(William Powell)to be aware of actually killing.There are many suspects : the secretary(Ralph Morgan),the butler,the Chinese cooker,the contender(Paul Cavanagh) in kennel championship for revenge killing dog ,the nephew(Mary Astor) facing off her tyrant uncle,the Italian man(Jack La Rue),the brother,the attractive neighbour..Stylish Vance tries to find out who murdered tycoon,appearing many clues ,as a book titled:Unsolved murders. The police Inspector(Eugene Palette)and a coroner are helped by Vance to investigate the mysterious death.The sympathetic forensic medic examines boring the continuous body-count .Who's the killer?.The public enjoys immensely about guess the murder.

The picture is an interesting and deliberate whodunit,it's a laborious and intriguing suspense tale.The personages are similar to Agatha Christie stories, all they are various suspects.They are developed on a whole gallery of familiar actors well characterized from the period represented by a glittering casting to choose from their acting range from great to worst. Powell is in his habitual elegant and smart form as Philo.He's protagonist of two famed detectives cinema,this one, and elegant Nick Charles along with Nora(Mirna Loy)make the greatest marriage detectives. Special mention to Mary Astor as the niece enamored of suspect Sir Thomas,she was a noted actress of noir cinema(Maltese falcon). The movie is magnificently directed by Hollywood classic director Michael Curtiz.He directs utilizing modern techniques as the image of dead through a lock-door,a split image while are speaking for phone and curtain-image.The tale is remade as ¨Calling Philo Vance¨(1940).The film is a good production Warner Bros, by Vitagraph Corp.

Talented detective Mr. Philo Vance (William Powell) cancels his overseas trip to investigate an apparently cut and dried case of suicide he has good reason to suspect is really something much more, a rather deliciously complex murder!

As far as murder mystery films go, it just doesn't get any better than this one. Populated with suspicious characters, all connected to a dog show and all having very good reason to murder the apparent suicide victim Archer Coe, it's truly tough to figure this one out or wrap one's head around it but boy, does it proves fascinating to watch unfold before us. Even the cops, the coroner and the district attorney prove colorful, fleshed out characters adding a level of unexpected gritty realism to this one's proceedings and amping up its overall "fun" factor. I particularly enjoyed the comic scenes involving the coroner (played by Etienne Girardot), who is always it seems to him being rudely and untimely interrupted by the discovery of corpses or injured men during this one's running time. Also Eugene Palette's Detective Sgt. Heath provides welcome, often later delightfully humorous at his expense, critical commentary during Vance's investigation. I cannot think of any valid criticism to give this movie in fact except perhaps that it hasn't dated particularly well. Doesn't stop the movie from being just plain good fun viewing though. Watch and see if you can wrap your head around this one's mystery. Highly recommended you try!

This is the sixth Philo Vance mystery film and the fifth and last starring William Powell, five films which he made between 1929 and 1933. (In 1930 a single Philo Vance film intervened which starred Basil Rathbone, THE BISHOP MURDER CASE, see my review). After this, Philo Vance was played by eight different actors until 1947, when the series ended (it had gone into abeyance during the War, between 1940 and 1947). Here William Powell continues to become more and more recognisable as the William Powell we all admire from his later films. Although the script gives him little opportunity, he still manages to make the occasional comment with the typical Powellesque mixture of nonchalance and challenge. Insouciance is never that far away, and one can sense it trembling on his lips. His sense of humour peeks through the workmanlike script from time to time, like a mouse glancing through its hole at a cheese on the table but not daring to try to approach it. (A whole cheese of the old-fashioned kind bears a certain resemblance to a director's cut, doesn't it? It is more nearly what its Maker intended.) This film has many characters, including seven murder suspects. The plot is convoluted, there is more than one murder, and there may even be more than one murderer. A central feature of the complex plot is that old chestnut, the murder in a locked room which is bolted from the inside. In this film, unlike others one could mention, we see a detailed and closeup view of just how that trick is done. I am not aware of when the famous motif of a murder in a sealed and bolted room first entered detective fiction, and doubtless experts in the genre might have some idea. But here we have it on screen in 1933, and trackers of ingenious plot twists can add that as one of the early dots which they join in their graph. But there are many red herrings and other complications in this tale. There may be not one, not two, but three murder weapons, for instance. Which one did the deed? Why are there so many? The sub-plot of a Chinese cook who is really a Columbia University graduate specializing in the acquiring of rare porcelain adds a further twist. Certainly this story was very meticulously plotted, with as many intersecting possibilities as a well-cut jewel has facets. It gleams from all angles, and the answers may come from more than a single one. Detective story lovers will not be disappointed. Mary Astor is one of the two female stars, but has little to do other than walk through her lines. This is a plot film, not a character film, and nothing matters but whodunit, or whodunn'em. There are no wisecracks or smart dialogue in this film, but it does have a running humorous sub-plot of the coroner whose meals keep being interrupted as he is repeatedly summoned to check on more bodies, and he gets grumpier and grumpier. He is very funny, and this lightens the film up a little. The film never rises above the mediocre except in its plot elements. Oh yes, there are cute dogs in this film. In most films, we get cute girls, but in this one we get cute dogs.

Why can't this type of compact, entertaining mystery be filmed in the new century? It keeps the viewer thinking and guessing all the way. The cast is a great ensemble. William Powell exhibits true star quality. Who knows--perhaps he was rehearsing for his future as Nick Charles. He is a joy to watch. One also can see why Eugene Pallette made more than 200 films. He is a great supporting character actor and his excellent chemistry with Powell is fun to watch. Mary Astor does above average work in a not very meaty role. All other hands chip in to make this a thoroughly enjoyable way to spend 73 minutes. I suspect Michael Curtiz had a ball directing his one. Bravo!

William Powell, Michael Curtiz, and a good murder mystery make "The Kennel Murder case" an entertaining film. Philo Vance (Powell) does some of his most difficult deducting, and Curtiz's direction keeps things moving quickly.

When rich, obnoxious Archer Coe is murdered, the case causes lots of difficulty for the police. It's bad enough that Coe's meanness gave a good reason for murder to pretty much anyone who ever knew him, but it's even worse that the clues are so complicated that he could have been killed in at least two completely different ways. Only Vance can figure it all out, and after some good twists, there is an interesting and creative solution.

Though basically filmed as a routine whodunit, there are several good features besides the story itself. Powell is as lively as Vance as he was later as Nick Charles in the "Thin Man" films. Most of the rest of the cast is good, too, especially Mary Astor as one of the suspects and Eugene Pallette as the earnest but not very bright sergeant in charge of the case. Everything moves along quickly with many good touches of humor.

Most mystery fans will find this movie entertaining and enjoyable.

Philo Vance (William Powell) competes in a show dog competition at Long Island Kennel Club. Hilda Lake (Mary Astor) is frustrated by her uncle Archer Coe who controls her share of the family fortune. A dog is killed. Coe is shot dead in a presumed suicide. Vance does not believe that Coe has the mentality to kill himself. He cancels his trip to Italy and gets the police to reopen the investigation.

This is a solid mystery film from the early talkie era. It has the foresight to cast William Powell as the sly amateur sleuth. He simply fits the role which he would do over and over again. He's a dapper Sherlock Holmes. The mystery is rather old fashion. It would be nice for him to get a partner and the dog doesn't count. From that early scene, I assumed that he would be paired up with Mary Astor for the whole movie. Powell is such a better actor with a smart dame by his side.

This is one of those movies that you wish you hadn't seen before - so you could see it again " for the first time " . Van Dine's books still bring pleasure - but are termed excessively flowery by many . This movie is by far the best film adaptation of his works . William Powell is William Powell - say no more . The plot is intricate . The story moves all too quickly , because you want it to last . Enjoy.

William Powell is Philo Vance in "The Kennel Murder Case," a 1933 film also starring Mary Astor, Paul Cavanagh, Eugene Palette, Helen Vinson and Ralph Morgan. A dog show in which Philo has entered his Scottish terrier Captain serves as the background for a locked room mystery with too many suspects. The mystery is very clever and the denouement both complicated and interesting. Since the talkies are still quite young, the camera work is a little static, but Michael Curtiz does a good job directing the action.

The supporting cast is excellent; the entire cast brings the film up a notch. Lots of actors have played Philo Vance, including Paul Lukas, Basil Rathbone, Wilford Hyde-White, Edmund Lowe, James Stephenson, Alan Curtis, Warren William and others. Powell played it the most (five times) and is the best fit for the role - very relaxed but serious at the same time. This was made before "The Thin Man" catapulted him to big stardom - he had spent about 12 years in film by then, beginning his career on stage in 1912 at the age of 20. A remarkable man, a remarkable screen presence and a remarkable actor who lived to be nearly 92. We're so lucky to have his films available on DVD and on TCM today. "The Kennel Murder Case" is a great story and a fun film - don't miss it.

William Powell's final outing as Philo Vance occurs in The Kennel Murder Case where the murder of a championship show dog leads to two more murders and one attempt of the human kind. It's all in the figuring out of how that leads to the who and why.

The Philo Vance murders by S.S. Van Dine were most popular at the time and the clever Mr. Van Dine figured out a way to sell his books one at a time to the highest studio bidder. This is why you see so many Philo Vances and so many studios putting them out. Had Bill Powell not gone on to greater fame with MGM as Nick Charles of the Thin Man series, he would have been known as the greatest of Philo Vances.

It turns out that Powell had entered his little terrier Captain in the same contest where the murdered dog was entered and then another rival owner became the first murder victim. As usual Powell shows up Eugene Palette as Sergeant Heath whose biggest contribution to the proceedings was using his bulk to break down the locked from the inside door where the first murder victim was found.

I did say locked from the inside and it was an upper story so it was in figuring out the how. Powell has a lovely group of suspects, as extensive as what normally is in a Thin Man mystery. People like Paul Cavanaugh, Helen Vinson, Ralph Morgan, Mary Astor, fill their cast roles well.

Warner Brothers liked this version so much that in fact they remade it again in the Thirties with James Stephenson in his one and only outing as Philo Vance. It doesn't hold a candle to this one.

As this is the only Powell Philo Vance that is out on VHS or DVD by all means see this one or acquire it if you can.

THE KENNEL MURDER CASE (Warner Brothers, 1933), directed by Michael Curtiz, returns William Powell to the screen playing detective Philo Vance. Having originated S.S. Van Dine's novel character in earlier Paramount capers as THE CANARY MURDER CASE (1929), THE GREENE MURDER CASE (1930), and THE BENSON MURDER CASE (1930), followed by Basil Rathbone's take on the character in MGM's THE BISHOP MURDER CASE (1930), it was natural having Powell back as the master sleuth once again as assisted by Eugene Palette as the police inspector from the Paramount entries. While those aforementioned titles along with the entire "Philo Vance" mysteries are as forgotten as the character himself, THE KENNEL MURDER CASE goes on record as the finest and most revived of them all.

The story opens at a Long Island Kennel Club where Detective Philo Vance (William Powell) enters his Scottish terrier, Captain McTavish, in a dog show. Also in attendance is Archer Cole (Robert Barrat) observing glaringly at his mistress, Doris Delafield (Helen Vinson), accompanied by a much younger man, Eduardo Grassi (Jack LaRue). Cole's niece, Hilda Lake (Mary Astor), despises him because of his control over both her assets and personal life. Cole disapproves of Sir Thomas MacDonald (Paul Cavanaugh) whom Hilda intends to marry. While Vance's dog loses the contest, MacDonald's dog, Ghillie, is soon found dead in the alley. MacDonald places the blame on Cole and intends on avenging his dog's death. After having a heated argument with Doris and confrontation with her lover, Cole returns to his 980 East 71st Street residence. The next morning, Gamble (Arthur Hohl), Cole's butler, finding the door bolted, looks through the keyhole to find his employer dead. Before the steamer leaves port for Italy, Vance, on board, hears the news about Cole's death on the radio and immediately cancels his vacation to do some investigating. Because Cole's death is ruled a suicide by coroner, Doctor Doremus (Etienne Girardot), Vance believes otherwise and intends on proving it. Teaming up with Detective Ernest Heath (Eugene Palette) and District Attorney John F. Markham (Robert McWade) during the investigation, Vance encounters a total of seven suspects with motives for wanting Cole dead, ranging from his niece, her fiancé, Raymond Wrede (Ralph Morgan), Cole's personal secretary and live-in boarder in love with Hilda; Brisbane Cole (Frank Conroy), the victim's brother who owns a book of unsolved murders; and Liang (James Lee), Cole's Chinese cook. Things prove more complicated when Vance learns the sole witness to be a Doberman Pinscher.

For Powell's fourth go round as Philo Vance, it also became his last. Powell would play other master detectives over the years, his best known and admired being that of Nick Charles in six installments of "The Thin Man" series for MGM (1934-1947). Based on his performance enacted here can only envision the way Powell's Philo was performed over at Paramount. In fact, Powell's Philo appears to be no different from his Nick Charles interpretation, with the exception that Nick is married. It really doesn't matter considering their similar techniques on crime solving and how he goes about revealing "who done it?" and why. Aside from its fine casting, director Curtiz keeps the pace moving through portions of split screen techniques, limited off-screen narration (by Vancve) and flashback details. Another definite asset is the familiar presence of Mary Astor, eight years before her substantial performance in the third screen adaptation of Dashell Hammett's detective mystery, THE MALTESE FALCON (Warners, 1941) starring Humphrey Bogart as private eye, Sam Spade.

Being both classic "Philo Vance" and top-notch Powell, THE KENNEL MURDER CASE was unrecognizably remade by Warners as CALLING PHILO VANCE (1940) featuring James Stephenson in the title role; with Margot Stevenson (Hilda Lake); and Richard Kipling (Archer Cole). Shorter (65 minutes) from the original (73 minutes), the remake, with material brought up to date, is a very dull affair.

Aside from broadcasts on commercial television, THE KENNEL MURDER CASE turned up quite regularly on public broadcast stations in the 1980s as part of its "Sprockets" series. As much as other "Philo Vance" mysteries featuring different actors distributed by other film companies through 1947, THE KENNEL MURDER CASE became the of many to be distributed to video cassette. Having fallen into public domain, many video prints are usually of poor quality. DVD copies are either found with a double bill with NANCY DREW, DETECTIVE (1938) on the flip side or as a solo disc. Better visuals and audio copies of THE KENNEL MURDER CASE can be seen on Turner Classic Movies. While a film like this may not win any blue ribbons, it should satisfy both humans and dogs alike. Sequel: THE DRAGON MURDER CASE (Warners, 1934) starring Warren William as Philo Vance supported by Eugene Palette, Robert McWade and Etienne Girardot resuming their initial roles. (***)

This is a very clever and engaging mystery. A wealthy man is murdered, the body is found in a room where the door is locked from the inside, and there are no fewer than 7 suspects; his brother, business associate, secretary, ex-girlfriend, cook, niece, and niece's boyfriend. Each of them resented the victim for different reasons. His death is almost ruled a suicide but Philo Vance knows better. The case only grows more complicated as additional clues are discovered.

William Powell isn't Nick Charles here so don't expect him to act like it. Although there are some flashes of wit, he's playing it straight and serious as the dogged (hey, that's a pun!) detective. He solves the case without drinking a single martini. Myrna Loy is nowhere to be seen but Asta does have a cameo at the dog show.

The direction, by Michael Curtiz, elevates this above the level of a B-movie. There isn't one moment wasted in this taut, little who-dunnit. It zips right along, as scenes transition with whip pans, wipes, and quick dissolves. There's a lot more camera movement than I generally recall seeing in early 1930s films. Scenes that might be filmed in a pedestrian manner, in less capable hands, are enhanced by thoughtfully composed shots. A POV shot through a keyhole zooms into the room. A shot of some men talking is made more interesting by being framed through a car window. A shot of the outside of a window of one character's house tilts up and then pans to the action in the window of another character's apt., etc.

Since Powell is so serious here, the comic-relief comes in the form of portly Detective Heath and irritable Dr. Doremus, the M.E. The doctor, who keeps getting dragged away from meals or out of bed to consult on the case, gets most of the good lines. When a second murder victim is discovered he quips, "Well, there are too many people in the world anyway." His, "I'm a doctor, not a magician," and, "I'm a doctor, not a detective," call to mind Star Trek's Dr. McCoy.

Vance actually does a couple of things in the last scene that would be considered unethical today but, hey, they work to suss out the killer so...Go, Philo!

Now I need to find a door with a barrel bolt and a keyhole...

But tells it well. It's almost as if this Philo Vance mystery takes its cues from Agatha Christie, with the story being so intricately plotted that the least suspected person ends up as the murderer. However, I have to admit, in this case I did suspect the culprit.

WILLIAM POWELL assumes a more serious demeanor as the detective, unlike his characterization of Nick Charles in the Thin Man mysteries. The humor comes from some in the supporting cast, most of whom are suspects in the case.

MARY ASTOR is pretty and lively as ROBERT BARRATT's daughter. He's the man who is at first suspected of committing suicide in a locked study. ETIENNE GIARADOT is the doctor who is always being called away to check out a dead body just as he gets to enjoy a quick meal. ("I know a dead man when I see one!" he cries impatiently). RALPH MORGAN is the murdered man's private secretary. EUGENE Palette is a befuddled detective who can't decide who's guilty without the aid of Vance and gets a few chuckles along the way.

Directed in lively fashion by Michael Curtiz, it's a good little mystery that borrows from a whole bunch of clichés but manages to be tight and entertaining throughout. Well worth watching. The locked room explanation is a little hard to swallow but is acted out efficiently during solution of the crime.

Thanks to Michael Curtiz' dynamic and stylish direction you don't notice how dull and lifeless this story is. The characters, even William Powell's detective Vance, are all so one dimensional you just can't warm to any of them. You wouldn't care if they all got murdered.

The problem with this is that it's entirely plot driven rather than character driven. For such a story, the plot needs to fascinate you, to make you desperate to know what's going on but on that respect it fails totally. It seems pointlessly complicated and annoyingly sends you down blind alleys with instantly forgettable bland characters you don't care about.

The Philo Vance stories were inexplicably popular back then - no idea why because unlike every other fictional detective I can think of, he doesn't seem to have any personality. Now if Poirot had been the detective here or even if we had got to know who all these countless people actually were it might have been half decent!

Despite the shallowness of the writing, the uninteresting story and the usual boring presence of Mary Astor, it does actually look good. So ten out of ten for Michael Curtiz but nul points for the rest of them.