If there’s one murder mystery where nobody cares whodunit, it has to be The Thin Man. Why waste time puzzling over clues when you could be enjoying William Powell and Myrna Loy, and their portrayal of glamorous detectives Nick and Nora Charles? The scenes everybody remembers from this sparkling pre-Code comedy-drama are all about Nick and Nora – and, of course, their wire-haired terrier, Asta.
For the uninitiated, the film centres on supposedly retired private detective Nick Charles, who has given up the day job to concentrate on enjoying life with his rich wife. Or so he thinks – but, inevitably, when the couple leave their San Francisco home and visit his native New York to stay in a grand hotel suite there over Christmas, the festivities get mixed up with solving one last crime. Which will lead to plenty more “last crimes” in a series of sequels. There is a fine supporting cast, including Maureen O’Sullivan as a lovelorn young girl and Nat Pendleton as a comic detective, and the murder mystery is well done in itself, leading up to a scene round the dinner table where Nick brings all the suspects together before revealing the killer. However, it isn’t what anybody remembers the film for. Few people even remember that the phrase “The Thin Man” is actually supposed to refer to a character involved in the murder mystery, a complicated tangle about an eccentric scientist suspected of killing his ex-lover, and not to William Powell.
It’s hard to imagine a sunnier musical than Easter Parade. Everything fits together perfectly, from the sublime song-and-dance pairing of Judy Garland and Fred Astaire to the score packed with great Irving Berlin standards. Yet this brightly-coloured holiday favourite was at first intended to be darker and sadder, and it almost came together in its final form by a series of accidents.
This backstage tale is set in the vaudeville days of 1912, centred around New York’s famous Easter Parade. It has a warm, nostalgic flavour to it, though the gorgeous costumes would have been fashionable in the 1940s as well as in the period being portrayed. There are plenty of lavishly produced musical numbers, including scenes from the Ziegfeld Follies, but there are also scenes of Garland singing in a dingy nightclub, and glimpses of quirky vaudeville attractions such as a number featuring performing dogs. There is very little dialogue between the songs by comparison with most musicals, but it doesn’t feel too sparse, because every line is made to count.
I saw in the New Year with yet another 1930s William Wellman movie which isn’t available on DVD! After seeing this one twice, I can hardly believe that it hasn’t had an official release. It is a highly entertaining romantic comedy-drama and has close links with Wellman’s Oscar-winning A Star Is Born, released the following year. Both movies star Janet Gaynor in similar roles as a young girl desperate to escape from a stifling small-town existence – and there are certain similarities between Robert Taylor’s character in Small Town Girl and Fredric March’s famous role as Norman Maine, not least the fact that both characters are heavy drinkers. As if that wasn’t enough, this movie also features a scene-stealing support role from a very young James Stewart. Fortunately, Small Town Girl seems to be shown quite often on TCM in the US and at the moment it is also available for viewing on a very popular video streaming website.
The basic plot of this film sounds very cliched, about a couple of strangers who get married in haste on a drunken night out and then have time to repent at leisure – but end up falling in love instead. However, the movie itself is far quirkier, funnier and more bitter-sweet than this plot description might suggest. According to the TCM website, Wellman was only brought in on the project by MGM quite late on and wasn’t very happy about making the film, asking to be replaced as director at one point. Their article also says he didn’t get on very well with Gaynor at first, because she was uneasy about his liking for slapstick-style scenes. However, as they went on to work together again so soon on A Star Is Born, with its wildly slapstick plate-smashing scene, presumably the two of them got over this and achieved a good working relationship.