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

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 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

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 at Treasure Island (1939)

One of the best of the series, 15 February 2008

While in route to San Francisco, Chan's friend Paul Essex dies of an apparent suicide. The only clue is a threatening note from someone calling himself the Zodiac. Chan soon discovers that the Zodiac is a successful mystic. Together with a would-be psychic-buster and magician named Rhadini (Cesar Romero), Chan sets out to discover the source of the Zodiac's mysticism and unmask a killer.

I thought I had seen the best of the Charlie Chan series. Man, was I ever wrong. After a first viewing, Charlie Chan at Treasure Island has become one of my very favorite Chan films. It's not just one of Toler's best, it's one of the three or four best entries in the entire series. It's got everything a fan could ask for – an interesting plot, a larger than life villain, solid acting, compelling characters, real suspense, comic relief that's actually funny, and some of the best writing I've seen in a Chan movie. The final reveal is also one of the best in the series. It's not the usual drawing room gathering of the suspects (which I usually prefer), but a drawn out, tension filled scene in a theater full of people. And speaking of tension, Chan's first meeting with the Zodiac is amazing, if not a bit frightening. Charlie Chan at Treasure Island also benefits from a strong supporting cast. Cesar Romero, Douglas Fowley, Pauline Moore, and, personal favorite, Douglass Dumbrille add considerably to the film. Overall, this is one Charlie Chan film that I'm very much look forward to revisiting – and soon.

8/10

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

Mr. Moto in Danger Island (1939)

"Hey, Mr. Moto! Indemnify me for these mugs!", 22 July 2007

Mr. Moto has been called to Puerto Rico to investigate diamond smuggling. As his predecessor was found murdered, Moto knows that the gang he's up against will kill to keep their illicit business in operation. Moto quickly comes to the conclusion that there must be leak within the Governor's inner circle. But these are trusted men! Surely Moto must be wrong. And what does the swamp that once harbored pirates have to do with the band of modern day criminals? It's up to Moto to put the pieces together.

While none of the movies in the Moto series could be called "high art", most provide at least an entertaining way to spend just over an hour. Of the 6 or so Moto movies I've now seen, Mr. Moto in Danger Island is easily the least of the bunch. While Peter Lorre is as entertaining as always and seems to be giving it his all, the plot lets him down at every turn. In many of these movies from the 30s, the plots rely on coincidence (or plain old dumb luck) to solve the mystery. The set of circumstances required to solve the mystery in Mr. Moto in Danger Island borders on being ridiculous. And while I'm on the subject of things in the movie that bothered me, I'll mention that not once did the movie feel like it was actually set in Puerto Rico. I cannot remember seeing anyone who even resembled a Puerto Rican. Given all the white guys present, the movie looks like it should have been set in Des Moines instead of Puerto Rico.

Still, it's Moto and I'm a sucker for this kind of stuff. I just love these stage-bound adventure type movies form the 30s. As I mentioned, Lorre is entertaining. For the most part, the supporting cast is just as strong. I always enjoy Leon Ames and Douglass Dumbrille every time I see them pop-up in one of these movies. Also on the positive side, while it may not have looked like Puerto Rico, the movie still looked great. I'm not all that familiar with the cinematographer, Lucien N. Andriot, but I'll give him the credit for making Mr. Moto in Danger Island look far better than it should have given its meager budget.

In the end, it's not great, but I can think of far worse ways spend and hour. Fans of the Moto series will find enough to make them happy. For what it's worth, I'll give Mr. Moto in Danger Island a 6/10.

6/10

Jamaica Inn (1939)

"That place - Jamaica Inn. It's got a bad name. It's not healthy, that's why. There's queer things goes on there.", 10 July 2006

Jamaica Inn is easily the weakest Alfred Hitchcock film I've yet seen. Actually, Jamaica Inn isn't so much a Hitchcock film as it is a Charles Laughton film. Now I generally enjoy Laughton's brand of acting. In fact, I rank his performance in The Island of Lost Souls as one of the all-time best performances in a horror movie. But in Jamaica Inn, his overacting, scene-chewing performance is too much. Although there are a few scenes with Laughton I enjoy, particularly early in the movie before we discover his character's true nature, he becomes something of a joke - a giant buffoon sucking whatever atmosphere and drama the film had. His over-the-top characterization is out of place with the other elements in the film.

Hitchcock was, however, effective in creating tension and atmosphere in the scenes without Laughton. There's a particularly nice scene early on where our two heroes, played by Maureen O'Hara and Robert Newton, are trapped in a cave. Or the scene near the end where O'Hara finds herself at the mercy of the band of cutthroats whose plan she has thwarted. In these instances, Hitchcock creates real tension. But of course it's not long before Laughton enters the picture to steal the moment away from everyone - including Hitchcock.

I suppose my favorite part of Jamaica Inn was the chance to see a young Maureen O'Hara. She was as feisty at 18 as she would be throughout her career. She does a nice job given the circumstances she was working with.

5/10

Son of Frankenstein (1939)

"One doesn't easily forget, Herr Baron, an arm torn out by the roots.", 4 October 2005

When Baron Wolf von Frankenstein (Basil Rathbone) arrives to take over his father's estate, the locals immediately begin to fear for the worst. Wolf's father created a monster that terrorized the community and the townsfolk want no more of that. Wolf assures everyone that he has no intentions of creating a monster. But when Wolf finds Ygor (Bela Lugosi) living in the ruins of his father's laboratory, he is soon headed down the same path of destruction that claimed his father.

Over the years, there have been volumes written on the Universal classic horror movies. Realizing that it would be foolish of me to attempt to improve or add much to the writings of these scholars, I'll instead focus on a couple of areas that make Son of Frankenstein so special to me.

1. The Acting. Son of Frankenstein features a Who's Who of the best of the classic horror actors. Joining Rathbone and Lugosi in the cast are Boris Karloff and Lionel Atwill. While each gives a noteworthy performance in their own right, Lugosi's performance is generally held up as the best of his career. And while I agree, Rathbone makes Son of Frankenstein a joy for me to watch. There are very few actors that I can think of who could have played Wolf with the same type of intelligent energy that Rathbone exhibits. He's wonderful. As for Karloff, I'm glad he decided to make Son of Frankenstein his last as the monster. By the time of the second sequel, Karloff's monster became little more that a prop for Lugosi, Rathbone, and Atwill to fight over.

2. The Sets. I'm not exaggerating when I say that the sets in Son of Frankenstein are among the best I've ever seen. The sets are amazing with their bizarre angles and shadows. Two that immediately come to mind are the dining table set and the staircase set at the beginning of the movie. They are in a class of their own.

Every fan of horror, or just good classic movies in general, owes it to themselves to see Son of Frankenstein. It may not be as well known among the casual fan as either Frankenstein or Bride of Frankenstein, but it many ways it's the equal of those two films (if not better).

9/10