The Mystery Man

Following a drunken night out, an ace Chicago reporter loses his job. Arriving in St. Louis penniless, he meets a girl in a similar position and they team up. After a gun he pawned is used in a murder, they have to solve the crime to avoid arrest.

Average crime story with just a touch of humour but really needing a stronger script. However, despite this, Robert Armstrong does the best that he can and gives a decent performance. Maxine Doyle plays the girl.

Cinematic archeology is what this is all about. The film has lost all its appeal as the hooks have gone out of style. But we can see major chunks that have evolved to what we have now.

The basic setup is the fold of a reporter as a detective, a miraculously simple concept in narration, as his job is to 'get the story.'

He has an easy hookup with a perky girl, though cleanly post-code.

Our reporter is an adventure-loving party man (which then meant an occasional drunk) who cannot keep money and who hates authority.

The environment is one in which police are inept and essentially invisible, and 'the paper' runs the town behind the scenes. You can easily see the seeds of noir here.

Oh, and we have a stereotyped villain, a mystery man who calls himself The Eel and who calls to taunt police (represented by the DA).

Good digging here, if you have the patience.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

When you screen an old movie, there are a few obvious signs as to its quality. Take the Monogram logo, for example. You know that the script will be a rough draft, that production will take only a week or so and that the acting will range between passable and clunky. On the other hand, it might even be entertaining. Which "The Mystery Man" actually is, even when it staggers along. Robert Armstrong stars as an intrepid newspaperman who winds up, after a drunken spree, in St. Louis where he's determined to restart his career by catching the mysterious criminal known as "The Eel." Somewhere along the way, he gets mixed up with a plucky, dead-broke brunette who masquerades as his wife for reasons that make no sense. But why worry about reality? It's...drum roll, please...a Monogram Picture. And that's almost as good as a PRC release.

This really seems to be two movies in one. The first is a sweet romantic comedy that takes up the first 40 minutes of the film. Reporter Larry Doyle from Chicago gets $50 for breaking an important story and does too much celebrating. He ends up broke in St. Louis. He sits down at a lunch counter with beautiful Anne Oglivie (Maxine Doyle). She finds that she only has 10 cents to pay for her 20 cent coffee and donut. Larry secretly pays for her. Realizing that a young girl broke in the city could end up in trouble, Larry follows her around to help her out. Having no place to stay, he gets a hotel room for the two of them. Anne is reluctant, thinking he wants sex in return, but Larry reassures her that he's a square kind of guy. He orders an expensive $35 a day hotel suite which has two bedrooms with separate keys. He explains that Anne is as safe with him as she would be anywhere in the city.

This part of the movie seems to inspired by Frank Capra's "It Happened One Night" which came out also in 1935. Suddenly with about 25 minutes left the movie turns into a more typical Monogram murder mystery. Larry, remembering that he's an investigative reporter, goes after a slippery gangster called "the Eel." As all Monogram murder mysteries are, its silly, cheap and quite a lot of fun.

Robert Armstrong (King Kong, Son of Kong, Mighty Joe Young) gives a really strong performance. He's a sweet tough guy with a heart of gold. Maxine Doyle is excellent as the broke virgin in the city. Twenty years old at the time, this was one of her first starring movies. Over the next two years, in 1936 and 1937, she starred in about a dozen low budget movies and that was pretty much the end of her career. She did do some bit parts in the 1940's.

Monogram generally made "C" or "D" movies. This one is actually a solid "B" movie.

It's not annoying or boring, but plot point by plot point it makes little sense. And yet is a fun and breezy little film, so I give it 6/10.

This was made by poverty row stalwart, Monogram and directed by Ray McCarey, younger brother of famed director Leo McCarey. Larry Doyle (Robert Armstrong) is a Chicago reporter who drinks heavily and gambles heavily, always annoying his boss, the city editor. Early on the police department gives Larry an award for cracking criminal cases as part of his job as a crime reporter. And they give him as a gift - a 45 caliber police revolver??? Then Larry resigns from his job and goes to St. Louis in the middle of the Great Depression with no money and no job.(???) There he meets a jobless broke girl, Anne, and although he acts like a total creepster and hits on her, she agrees to - check into an expensive hotel with him posing as his wife and order a large expensive meal for which they cannot pay??? Strangely enough, Larry stops treating Ann like an object as soon as they are alone in a hotel room, registered as man and wife.

Larry thinks he can get and keep a job with a local paper as a crime reporter if he can catch a local serial robber, "the eel". But instead he winds up accused of being the eel with a complicating factor that every time somebody calls his old managing editor and asks him to verify Larry's identity he claims that Larry Doyle is still in Chicago. Complications ensue.

The first half of the film moved quickly enough, but it is all over the map and contains lots of pointless scenes that appear to be filler to get this to feature length. Things pick up in the second half once Larry tries to catch The Eel and is then accused of being him, with Larry needing to catch the actual Eel to keep from being charged with murder. I saw a very good print of this film on youtube that looks like it has been restored with both the audio and video being quite crisp.