West of Shanghai (1937)

"I am Fang!", 25 November 2015

A group of Americans head to a remote part of China to obtain lucrative oil rights. When a warlord named General Wu Yen Fang invades the village they are staying in, it's no longer just a fight for oil - it's now a fight for life. 

I'm really surprised to read all the positive, glowing reviews for West of Shanghai. I'm sure my comment and 4/10 rating will be voted down like a rock in water. Sure, there are a few things to enjoy (Boris Karloff's wonderful performance as General Fang, the always enjoyable Ricardo Cortez, and some nice double-crosses near the film's end) but there's not enough for me to rate the movie favorably. My chief problem - I found most of West of Shanghai fairly dull and lifeless. Up to the point where Karloff comes in, the movie really drags. At just over an hour, the movie still manages 15 - 20 minutes of padding. The whole first act on the train is completely unnecessary. The murdered General has nothing to do with the rest of the film. And the big battle near the films climax is so poorly filmed, it's hard to tell what's going on. Not very exciting. Director John Farrow would go on to have an excellent career, but you'd have never have predicted it based on this early effort.

4/10

Murders in the Zoo (1933)

An unforgettable opening set-piece, 30 December 2009

There are very few films that I have waited as long to see as I have Murders in the Zoo. I've been aware of the movie for something like 40 years, but for whatever reason, just watched it for the first time a couple of nights ago. So, was it worth the wait? Overall, I'd say yes. The film features Lionel Atwill at his absolute best. He's an overly possessive husband willing to take the most extreme measures imaginable to deal with any man paying too much attention to his wife (played by the incredible Kathleen Burke). During his career, Atwill played a variety of mad characters, but few could top the decidedly evil Eric Gorman. The almost gleeful manner in which he toys with his intended victims – not unlike a cat "playing" with a mouse – is a joy to watch. You can all but see the psychosis in Atwill's eyes. And what Gorman does to his first victim is the stuff of classic horror movie legend. If you're an Atwill fan, this is one you don't want to miss.

Unfortunately, Murders in the Zoo is almost done-in by the ridiculously unfunny performance of Charles Ruggles. Ruggles, playing the worst sort of comic relief imaginable, actually managed to be higher billed and have more screen-time than Atwill. Whose idea what that? If the rest of Murders in the Zoo weren't so good, I could easily see dismissing the film based on Ruggles. He really is as bad and annoying as you've read.

7/10

Mr. Moto Takes a Vacation (1939)

"You go and fetch the bobbies.", 15 May 2009

A team of archaeologists uncover a real treasure – the Crown of the Queen of Sheeba. From Egypt, the crown is to be transferred via steamship to San Francisco. But it won't be an easy journey. There are plenty of would-be thieves who would love to get their hands on the priceless jewels contained in the crown. Fortunately for all involved, Mr. Moto is on hand to guard the crown on its journey. However, that doesn't mean someone won't try to get their hands on the treasure.

After the disappointment of Mr. Moto's Gamble, I went into Mr. Moto Takes a Vacation hoping for the best, but, admittedly, fearing the worst. But within the first 10 seconds of the film, I knew I would find it more enjoyable. I'm a sucker for a 1930s style mystery that features anything to do with archaeological digs in Egypt. And seeing Moto disguised as a German archaeologist (Imagine that, Peter Lorre playing a German?), the beginning scenes really drew me in. While the movie may have quickly shifted to the less exotic San Francisco, it remained just as enjoyable. Dark, sinister characters lurking in the rainy night; gunshots fired from open windows that narrowly miss the hero's head; sophisticated and supposed foolproof alarm systems just begging for someone to test them; and master criminals believed to be dead – these are the kind of elements found in a lot of the really good 1930s mysteries that I love. And Mr. Moto Takes a Vacation's got 'em all. A couple other bonuses for me included the always enjoyable Lionel Atwill in a nice little role, comic relief from G.P. Huntley that's actually funny, and a return to form for Mr. Moto. I've already mentioned his disguise in the movie's opening scenes, well the athletic Moto comes out near the film's finale. Moto is a like a Whirling Dervish of activity as he goes after his prey. All this and I haven't even mentioned the wonderful performance turned in by Lorre. Any way you look at it, Mr. Moto Takes a Vacation is a winner.

As much as I hate that the Mr. Moto series had to end after this installment, it's understandable when you think about it. WWII was just around the corner. And after Pearl Harbor, a movie with a Japanese hero wouldn't have gone over very well. At least the Mr. Moto series ended on a very positive note.

8/10

Mr. Moto's Gamble (1938)

"It's most unusual to shoot oneself in the back and without a gun.", 14 May 2009

Mr. Moto's Gamble has a fairly straight forward plot - when a boxer is murdered in the ring with a mysterious poison, it's up to the even more mysterious Mr. Moto to solve the case.

I'm shocked at the number of positive reviews for Mr. Moto's Gamble on IMDb. Because to me...well, I found it extremely disappointing. I enjoy Mr. Moto and I enjoy Charlie Chan, but I can't say I cared for this mish-mash of the two. For those unfamiliar with the story behind Mr. Moto's Gamble, it was originally intended to be a Charlie Chan film. But when Warner Oland backed-out, some of the scenes and action were rewritten for Peter Lorre and Mr. Moto. As I indicated, the end result left me underwhelmed. Mr. Moto is not Chan. He's more mysterious, he's more athletic, and he's more exotic. So trying to put Moto in a Chan film is like trying to fit a square peg into a round hole - it doesn't work. And listening to Lorre/Moto try to deliver one of Chan's trademark euphemisms just ends up sounding silly. Add to that the fact that almost 10 minutes of the already brief 72 minute runtime is made up of boxing scenes (something that I never seem to enjoy) and you end up with a movie that I couldn't help but dislike. If I have to say something positive I would point to the performance of Keye Luke. But even he's not near enough to save Mr. Moto's Gamble in my eyes.

Sorry, but a 4/10 is about the best I can give this one.

4/10

Gow the Killer (1931)

Interesting on two fronts, 10 May 2009

Gow the Killer follows a team of explorers as they cruise the South Pacific Islands searching for cannibals and head-hunters. Remember, this film was made in the 1920s. Places like Fiji, New Guinea, and Samoa were far away, exotic places to be feared. And, remember that in the 1920s, there may have still been some remote islands where cannibalism was practiced. The Gow in the title is a chief whose search for his missing daughter is recounted in the film. But this story is hardly the reason to watch the movie. Instead, Gow the Killer does provide some interesting footage of primitive peoples that cannot be reproduced today. I'm sure they natives were told to "perform" for the camera, but still, there's a glimmer of truth that does come through. And it's for these reasons that Gow the Killer is worth sitting down and watching.

The other interesting facet of Gow the Killer is the attitudes of "civilized" (i.e. white) society toward the natives of the South Pacific. The narrator of the piece would be labeled a racist or worse in today's PC world. And while I'm no champion of political correctness, some of the things this guy says are embarrassing. To say that a native shaving with a clam shell must surely have a different nervous system from whites is one of the more ignorant things I've ever heard. So while I appreciated the scenes of the primitive natives, I was more shocked by the attitudes of the supposedly sophisticated explorers.

5/10

The Death Kiss (1932)

A reunion for Lugosi, Manners, and Van Sloan, 29 April 2009

It's a plot device that's been used many times since, but The Death Kiss may have been the first time an actor was killed on set when someone fired a real bullet instead of blanks (at least it's the first I know of). Studio writer Franklyn Drew (David Manners) takes it upon himself to "help" the police find the killer – whether they actually want him snooping around or not. It seems that Drew has a thing for the film's leading lady, Marcia Lane (Adrienne Ames), a prime suspect because of her past relationship with the dead man. With lots of clues, red herrings, and no shortage of suspects, Drew's got his work cut out for him.

The Death Kiss is far from being a great movie, but for a low budget poverty row thriller/mystery, it's not half bad. One of the more interesting aspects of the film is the reuniting of Dracula alums Manners, Bela Lugosi, and Edward Van Sloan. Unlike Dracula, however, this is Manners' film with his scenes and importance far out-stripping his better known co-stars. In fact Lugosi is given very little to actually do other than stare suspiciously and mysteriously at anyone who gets within his gaze. Another positive aspect is the relationship between Manners and Ames. They work well together and make a very believable couple. First time director Edwin L. Marin does a more than adequate job with this early talkie. He seems to have an understanding of the medium and how to use it. The plot includes plenty of twists and turns to keep the viewer's interest. And the final outcome and reveal, though dependent upon coincidence and a bit of dumb luck, is more than satisfactory.

5/10

Charlie Chan in Shanghai (1935)

"Spider does not spin web for single fly.", 29 November 2008

Charlie Chan arrives in Shanghai to help an old friend with opium smugglers. But when his friend (One thing you learn if you've seen enough of the Chan films – it sucks to be one of Chan's old friends. You've got the lifespan of a fruit fly!) is murdered, Charlie realizes just how dangerous his quarry is. With the help of #1 son Lee, can Charlie catch a killer and put a stop to a ring of drug smugglers in the process?

As far as Charlie Chan movies go, Charlie Chan in Shanghai is what I would call slightly below average and one of the weakest of the Warner Oland Chan films. It's watchable enough if you like these movies, but it's nowhere near as good as the best of the series. While it's got most the usual trappings you would expect from a Charlie Chan movie, it lacks an effective central murder case with all the red herrings, suspects, and intrigue that entails. The ring of drug smugglers doesn't provide an adequate substitute. One interesting aspect of Charlie Chan in Shanghai is the development of a more human, caring version of Charlie Chan. First, we get to see Charlie sing a neat little song to the children on board the ship he's traveling. Second, Charlie seems to show a great deal of affection for his son Lee. While both are oddities, neither event is unwelcome.

6/10

The Hound of the Baskervilles (1939)

"Mr. Holmes, you're the one man in all England who can help me.", 25 November 2008

Of the half dozen or so different takes on The Hound of the Baskervilles that I've seen, this one is my favorite - just barely edging out the Hammer film from 1959. Why? There are a number of reasons I could cite.

1. Acting – The 1939 version of the Hound of the Baskervilles has to have one of the strongest casts ever assembled for a Sherlock Holmes film. It's a veritable Who's Who of 1930s/40s horror/thriller stars. Basil Rathbone, Lionel Atwill, John Carradine, Wendy Barrie, and Eily Malyon all give outstanding performances. Even E.E. Clive appears in a small but enjoyable role. And Nigel Bruce, whose bumbling Watson could really get on my nerves, gives one of his best performances as Holmes' sidekick.

2. Atmosphere – If there's something that filmmakers from the 1930s knew how to do and were especially adept at, its creating atmosphere. From the fog shrouded moors to the dangerous London streets, there's enough atmosphere in The Hound of the Baskervilles for two or three movies. The cinematography and lighting go along way to helping create this feeling. It's something that seems lost on many of today's filmmakers.

3. Direction – While nothing outstanding, Sidney Lanfield is nonetheless solid in the director's chair. One key is the pacing he gives to the film. The movie moves along quite nicely with very few moments that slow things down. Sure, this version of The Hound of the Baskervilles may veer away from the original source material, but it's for good reason. The film would have been too slow and, ultimately, quite dull had it stuck too closely to Sir Arthur Conan Doyle's work. I've read the book, but as much as I enjoy it, I realize changes have to be made for the screen.

While there are a number of other things I could mention in The Hound of the Baskervilles that appeal to me, I'll stop here before this thing gets out of hand. In the end, I've always found this a solid production and a very enjoyable film. I've got no problems rating it a 9/10.

Finally, one thing that has always seemed odd to me is the appeal of The Hound of the Baskervilles. Don't misunderstand, it's a good story. But I'm not sure I understand why it has been filmed more often than any other Sherlock Holmes story. Why would a plot that has its main character (Holmes in this case) disappear for about half the movie be the most famous and most often filmed story from the character's casebook? Like I said, it's just always seemed a bit odd to me.

9/10

Nancy Drew and the Hidden Staircase (1939)

"Some day I'm gonna get psychoanalyzed and find out why I'm such a dope.", 4 April 2008

Nancy Drew, with the invaluable assistance of her friend Ted Nickerson, comes to the aid of two old spinsters about to lose their home. As part of their father's will, the old women must live in the house for 20 years or its ownership will change to the city. But the death of the chauffeur, a theft in the middle of the night, and voices in walls have the sisters ready to abandon their home and their legacy. It's up to Nancy and Ted to find out what's going on and, in the process, unmask a killer.

Nancy Drew and the Hidden Staircase is probably my least favorite of the series. That's not to say it's a bad, unentertaining movie, it's just not as good as the three movies that came before it. If I had to point to any one thing that bothered me about the movie it would be the complete lack of reality. While I realize that none of the four movies in the series is set in what I consider the real world, Nancy Drew and the Hidden Staircase takes it a bit too far. For example, while Nancy is quite often misleading about what evidence she may have found while investigating a case, she crosses the line in this movie when she fabricates a suicide note and/or fails to tell the police about a bullet casing she's discovered. I don't care whose daughter she is or how much she has helped the police in the past, you get into real trouble when you start tampering with evidence.

But enough of my preaching. Nancy Drew and the Hidden Staircase is still a lot of fun. Bonita Granville and Frankie Thomas are as enjoyable as ever. The movie is well paced and at an hour in length there's not enough time for a wasted scene. The comedy is often quite funny. I found myself chuckling at more than one scene (the ice piling up on the ice box for example). While there's no real mystery as to the killer's identity, watching Nancy and Ted discover the how's and why's is a lot of fun. Finally, I'm a sucker for a movie set in an old house with moving walls and secret passages. They're just too much fun!

6/10

Nancy Drew... Trouble Shooter (1939)

"If you wanna get rich, stay away from women.", 3 April 2008

Nancy Drew and her lawyer father, Carson, set off for the country to help out an old family friend wrongly accused of murder. Conveniently for Nancy, her friend Ted Nickerson and his family are vacationing nearby. She quite naturally ropes Ted into helping her with her investigations. But this time, Nancy may have bitten off more than she can chew. From ghostly encounters to high flying danger, Nancy will have to be careful if she's to catch a killer.

I'm kicking myself for not watching these Nancy Drew movies sooner. I only wish I had about a half-dozen more to go instead of just one. Of the three Nancy Drew movies I've seen so far, Nancy Drew…Trouble Shooter is my favorite. While the plot may hardly matter (the killer's identity is not much of a mystery - in fact, it's NO mystery), that doesn't mean the movie isn't entertaining. There's plenty of action in this well paced movie with Nancy facing and overcoming obstacle after obstacle. From burning barns to burning dinner, the set-pieces are all enjoyable. Bonita Granville is as delightful as ever in the title role. She has such an infectious nature that it's impossible not to be a fan of her performance. In this installment, I was really impressed with Frankie Thomas as Ted. With a nice sense of comic timing, he plays the put upon boyfriend to perfection. And I liked the fact that John Litel as Carson Drew is given a bigger part and a romantic interest. My only real complaint would be with the character Apollo Johnson played by Willie Best. I'm certainly no crusader for political correctness, but I still have difficulty watching the shuffling, "Yassuh!" type characters played by black actors in the 30s.

7/10

Nancy Drew... Reporter (1939)

"You can always get information from women. They just love to talk!", 29 March 2008

Nancy Drew (Bonita Granville) and her classmates are given the opportunity to write actual stories for a newspaper. Not satisfied with covering a poetry reading, Nancy switches her assignment with one of a real reporter and ends up at an inquest. Based on the evidence presented, a lady is accused of poisoning an old woman for an inheritance. But Nancy's not buying it. Dragging her pal Ted Nickerson (Frankie Thomas) and her father Carson (John Litel) along for the ride, Nancy is determined to find the real killer.

As with Nancy Drew, Detective, the plot is hardly what matters in a movie like this. In fact, the plot is probably the weakest element of Nancy Drew…Reporter. It's too light, too breezy, and, worst of all, too predictable. I defy anyone not to pick out the killer within the first few minutes. However, it's the cast that makes these movies worthwhile. Once again, Bonita Granville shines. She gives real life and spirit to her character. I hate to repeat part of my comment on Ms. Granville from Nancy Drew, Detective, but it remains apropos – "She has an infectious charm that dominates the entire movie. It's hard to watch her and not have a smile on your face. You just naturally root for her." She once again joined by a strong supporting cast. I especially enjoyed Ned's bratty sister played by Mary Lee. Really nice job! Finally, I should probably mention that Nancy Drew...Reporter features a musical number. Nancy and company literally sing for their supper in a Chinese restaurant. While it hardly fits with the rest of the movie, I thought it was cute.

6/10

The Mandarin Mystery (1936)

A nice performance by Eddie Quillan, 8 March 2008

Josephine Temple (Charlotte Henry) arrives in New York with a very valuable stamp known as the Chinese Mandarin. Her intention is to sell the stamp to Dr. Alexander Kirk (George Irving), a noted stamp collector. But before she can go through with the sale, the stamp is stolen and the thief is found dead in a locked room. The police, including Inspector Queen (Wade Boteler), naturally suspect Miss Temple of having committed the murder. Fortunately for Miss Temple, however, the Inspector's son, Ellery Queen (Eddie Quillan), has taken a liking to her and will prove she couldn't possibly be guilty.

I can think of far worse ways to spend an hour than watching The Mandarin Mystery. I'm sure that movie fans more accustomed to modern, thrill-a-minute movies would find it all so dull and boring (even I'll admit that at times it can be creaky), but it worked pretty well for me. The Mandarin Mystery is one of those mystery/comedies that seem to have been popular in the 30s. The mystery elements were interesting and even the comedy bits generally hit their mark. It wasn't uproariously funny or anything, but it was amusing. I've seen Eddie Quillan in a few other movies and he's honestly never impressed me much. He's seemed capable enough, but not really noteworthy. With The Mandarin Mystery, he makes the movie work. The on-screen relationship with Wade Boteler, who played his father, is very entertaining. Finally, I enjoyed the final reveal. I won't give it away other than to say it works.

6/10

The Gorilla (1939)

"We'll all be murdered in our beds!", 1 March 2008

When Walter Stevens (Lionel Atwill) receives a threatening letter from a mysterious killer known as The Gorilla, he calls in a team of detectives to help protect him and his family. Unfortunately for Mr. Stevens, he's hired the Ritz Brothers.

The Gorilla does have a few things going for it – a big, old, dark house; a terrific thunderstorm; and a lunatic killer. The cast features the always entertaining Lionel Atwill and Bela Lugosi. They're both good, but I can't help feeling sad that by 1939 Lugosi was already reduced to playing butlers and servants in supporting roles. Ah well, he's still enjoyable. And when The Gorilla focuses on the mystery/horror elements of the plot, it's pretty creepy and good. The problem is that there is far too much lame comedy in the mix. First, Patsy Kelly who plays the maid, could make Una O"Connor look quiet and demure in comparison. She's loud and annoying. Second, and more annoying than Kelly ever dreamed of, are the Ritz Brothers. These guys are about as funny as fingernails on a chalkboard. I can't believe anyone ever found them entertaining. They're broad, over-reacting style of comedy plays on my nerves real fast. They completely destroy whatever atmosphere The Gorilla might have had going for it.

4/10

Mad Love (1935)

"I have conquered science! Why can't I conquer love?", 27 February 2008

Renowned surgeon Dr. Gogol (Peter Lorre) is madly obsessed with an actress named Yvonne Orlac. The feeling, however, is not mutual as Yvonne is married to a pianist named Stephen. When Stephen's gifted and talented hands are crushed in a train wreck, Yvonne begrudgingly seeks Gogol's assistance to save her husband's career. Seeing an opportunity to get in Yvonne's good graces, he agrees to help Stephen. Gogol replaces Stephen's mangled hands with those of a knife throwing murderer only recently put to death. But Gogol's plans for Yvonne backfire when Stephen's new hands prove to have a mind of their own.

Overlooked for far too long (probably because it wasn't part of the Universal packages that so many television stations bought and aired), it's good to finally see Mad Love getting so much richly deserved praise. It's a classic in every sense of the word. There are so many facets to the movie I could write about, but, in the name of brevity, I'll try to control myself and limit my comments to two items. The first is the film's look. Technically, Mad Love is nothing short of brilliant. Director Karl Freund was first and foremost a cinematographer – as Mad Love proves. Freund knew how to shoot a scene. As an example, take a look at the scenes set in the hallway and stairwell of Dr. Gogol's house. They may be insignificant to the overall movie, but you can see the care and effort Freund put into those moments. These scenes are like a painting come to life with their stunningly beautiful mix of light and shadows. Or, take the better known shots of Gogol dressed as the dead knife thrower. Not only are the special effects some of the most frightening of the 30s, the lighting in that scene goes a long way to creating the desired effect. It's an amazing piece of work.

Peter Lorre's performance is the other aspect of Mad Love that jumps out at me. Lorre has always been a favorite of mine, but I consider his work in Mad Love the best he ever did. Lorre does more without words in this movie than most actors would be capable of. For example, Gogol's repressed longing for Yvonne is clearly evident on Lorre's face without him even having to utter a word. Or, take the scenes in the operating room. The slow building madness in Lorre's eyes as the surgery progresses is clearly evident. And once again, Lorre doesn't have to utter a word. I consider Lorre's performance in Mad Love to be one of the best in the annals of horror. Brilliant! And I don't know who came up with the idea of the shaved head to go along with Lorre's bulging eyes, but it was a winner. It only serves to highlight Lorre's already expressive features.

As I indicated previously, if I allowed myself I could write for days on Mad Love. But I won't. I suppose I could end this by mentioning what has to be the most common criticism of Mad Love that I've read – the comic relief. But why let something that insignificant ruin what is otherwise a perfect movie?

10/10

Charlie Chan in City in Darkness (1939)

"Beware of spider who invites fly into his place for tea.", 18 February 2008

On the eve of war in France, Charlie Chan is visiting with old friends in Paris. When a leading industrialist is murdered, Chan agrees to help out the local police to solve the murder. Chan will have to sift through a web of international intrigue to find a killer.

Charlie Chan in City in Darkness was one of the very last Chan films I had not seen. And I can't tell you how disappointed I am in the movie. Briefly, it doesn't have the feel of a Chan film. It's not so much a murder mystery as it is an espionage thriller. And Chan isn't a central character as much as he is a bystander. He just happens to the there. And where was Jimmy? What's a Sidney Toler Chan film without #2 son? It's not the kind of movie I was hoping for.

This is the third Chan film I've seen with Harold Huber. His broad, almost comical characters are always a distraction. But in Charlie Chan in City in Darkness he's really out of place. The tone of this film is too serious for Huber's brand of over-acting. Another disappointing facet to this Chan installment.

5/10

Charlie Chan in Reno (1939)

A solid effort, 14 February 2008

Mary Whitman seems to be a logical suspect in the murder of Jeanne Bentley. After all, she was found standing over the body. And Jeanne was the "other woman" and the reason Mary was getting a divorce. On the surface, there seems to be little doubt of Mary's guilt. But Charlie Chan sees it all quite differently. He sees a hotel full of suspects who wanted Jeanne out of the way. Can he find the real killer before Mary is convicted of a crime she didn't commit?

Sidney Toler's second outing as Charlie Chan is a solid effort and an improvement over his first. I'm not exactly sure how to put this, but Charlie Chan in Reno is just more interesting. The plot, suspects, and setting all appealed to me. The pacing is nice with very few dull moments. I particularly enjoyed Chan's visit to the ghost town. The supporting cast is strong with Phyllis Brooks and Ricardo Cortez being the standouts. And Iris Wong as the dead woman's maid and Jimmy Chan's love interest is a delight. But one thing I really enjoyed about Charlie Chan in Reno is the way the finale is handled. I've often complained about the "cheat" endings of Chan films (and I should probably stop and just accept it as a given), but the ending here is played much straighter than some of the other entries in the series. If you're sharp enough, you actually have a chance to spot the killer before Chan's big reveal. Unfortunately, I am not that sharp.

7/10

Charlie Chan in Honolulu (1938)

Toler's first Chan, 13 February 2008

In Charlie Chan in Honolulu, Chan is called out to a freighter with six passengers making its way to Hawaii. A mysterious man has been murdered and $300,000 is missing. Chan must work his way through the clues, red herrings, odd characters, and other assorted obstacles to find a solution. In typical Chan fashion, he gathers all the suspects together to reveal the killer's identity.

Charlie Chan in Honolulu marks Sidney Toler's first outing as the venerable detective. The movie may not be spectacular, but it's not a bad way to begin Toler's run in the series. The movie also sees Victor Sen Yung take over for Keye Luke in the role of Chan's main son. H. Bruce Humberstone would appear to have been a solid choice to direct Toler's first Chan. He was familiar with the series having already directed three installments, including the much heralded Charlie Chan at the Opera. Likewise, the supporting characters are also a solid group. George Zucco and Phyllis Brooks give exceptionally noteworthy performances. Eddie Collins provides the comic relief. The biggest weakness of Charlie Chan in Honolulu is the plot. It's just not that interesting. And, in infuriating fashion, Chan's solution to the mystery is a cheat. There's no way for the audience to have figured out the solution based on the clues presented. It takes a last minute piece of evidence to unmask the killer.

6/10

Woman Haters (1934)

A nice start for the Stooges at Columbia, 1 November 2007

Woman Haters is far from the best of the Three Stooges, but it is a nice start to the Columbia shorts and does offer a unique and interesting thing or two. The plot sees the boys joining the Woman Haters Club – a club that prohibits its members from carrying on with women. But no sooner than they become members, Larry (they actually have character names, but they don't really matter) finds himself at the altar. He does his best to keep Moe and Curly from finding out he's secretly gotten married and he does his best to keep his new wife from finding out about the Woman Haters club. As expected, a great deal of eye poking and head knocking ensues.

The two best things Woman Haters has going for it (beyond its curiosity value) is the rhyming scheme of the dialogue and Marjorie White as Larry's wife. While I've seen some complaints about the rhyming dialogue, it worked for me. I thought it was very clever. Now, it might not have worked for a full feature, but for a two-reeler, it's okay. As for Marjorie White, she more than capable of holding her own with Moe, Larry, and Curly – more so than most women I can think of off the top of my head who appeared in other Three Stooges shorts. It's too bad she didn't live long enough to see where her career might have taken her.

6/10

Nancy Drew -- Detective (1938)

"Aw, quit disturbing the molecules!", 24 August 2007

Mary Eldredge, a wealthy older woman, is prepared to make a substantial donation to the school Nancy Drew (Bonita Granville) attends. But when she disappears before the gift can be finalized, Nancy immediately suspects foul play. And when Nancy witnesses the local doctor being kidnapped, she's sure she's on the right track. Can Nancy, with the help of her friend Ted Nickerson (Frankie Thomas), find and rescue the old woman?

Honestly, I wasn't expecting to enjoy Nancy Drew – Detective quite as much as I did. Sure, I'm a fan of 1930s-style mysteries like the Charlie Chan or Falcon series, but from afar, I've always thought of the Nancy Drew movies too lightweight and fluffy in comparison (though when I think about it, there's nothing deep and meaningful about Chan or any of the other movies I've enjoyed for years). And though Nancy Drew – Detective is a breezy affair, it's still very enjoyable. I cannot come up with enough positives to write about Bonita Granville. She has an infectious charm that dominates the entire movie. It's hard to watch her and not have a smile on your face. You just naturally root for her. The supporting players, particularly John Litel as Carson Drew and Frankie Thomas as Ted Nickerson, also add a lot of enjoyment to the movie.

The mystery elements of Nancy Drew – Detective hardly matter. It's quite obvious from the start what has happened to the old woman Nancy is looking for. But none of that really matters. The important thing is watching Nancy and the gang get to the final solution. It's just a lot of fun!

7/10

Charlie Chan at Monte Carlo (1937)

A weak, but still enjoyable Chan film, 18 August 2007

Traveling from Monte Carlo to Nice, Charlie Chan and No.1 son Lee discover and abandoned car. Inside the car, they find the dead body of a bank messenger who was transporting $1 million in bonds belonging to a wealthy industrialist named Victor Karnoff. There is no shortage of suspects: Paul Savarin – Karnoff's business rival; Joan Karnoff – Victor's wife who was being blackmailed; Al Rogers – a shady bartender; Evelyn Gray – a woman living above her means; or Karnoff himself for the insurance money. It's up to Charlie Chan to discover the truth.

Charlie Chan at Monte Carlo would be Warner Oland's last performance as the venerable detective. Unfortunately, it's one of the weakest Chan films Oland would make. It's not his fault – instead the blame can be placed on a weak script and a couple of other factors. Chan films notoriously cheat the viewer in that the solution to the mystery too often relies on facts not available to the audience. Charlie Chan at Monte Carlo is especially guilty of this. Key clues that help trap the killer are known only to Chan and the French Police Inspector. As for the other factors I mentioned, one of these would be Harold Huber. Huber, who appeared in two other Chan films, really lays it on thick here with his over-the-top acting and ridiculous French accent. It gets annoying rather quickly.

Still, this is Charlie Chan I'm talking about so it's not all bad. In fact, even a weak Chan film is still an enjoyable experience. It's just a shame that Oland couldn't have gone out on a higher note.

6/10