Charlie Chan in Monte Carlo

Charlie Chan (Warner Oland) and Chief of Police Jules Joubert (Harold Huber) track down theft of metallurgic bonds and murder in Monaco. Huber has a great deal of time on screen and he plays his character with the comedy that mars his department. Supporting character actor Louise Mercier does a great job as a taxi driver whose conveyance gets the best of him and son Lee Chan's misuse of French gets him into trouble.

Early theme in movie is repeated use of number `25.' Lee points out that their hotel room is 125, he is 25 years old, this is the 25th of August, this is the Chinese Year 9325 - and therefore the number 25 will be lucky at the roulette wheel. Chan point out that Lee had borrowed $25 the week before. Later we learn that the value of the missing bonds is $25,000, one of the suspects borrows an amount equal to $25,000, and heretofore there had not been a murder in Monaco for 25 years. Poor writing fails to capitalize on this theme and the storyline sounds better in movie reviews than as portrayed on the screen.

Lots of misdirection and suspicion but in the end, Chan and the police trap (`Questions are keys to door of truth') the guilty party using knowledge that was known only to police and not the viewer. One clue might have been picked up on by an observant viewer, but the other part of the explanation at the end goes beyond what we could have known. When confronted, the guilty party makes a final error in revealing yet another fact known only to police and murderer (again not to viewer). Not one the best of the Chan series.

This is the final appearance of Oland live in a produced film - he died the following year. In this movie, as Chan, he says: `Humble presence of no more importance than one drop of rain in cloudburst.' On the contrary - although the Chan series is not high art, this viewer thinks that we are better for Oland having played the role.

This film has the reputation to be very delightful in the Charlie Chan series. Well, maybe, I don't deny, I am not fan enough, but if you crave for this detective film series from the forties and thirties, you will appreciate of course. I did not particularly, because I am not sensitive enough to this atmosphere of talkings. So far, our Chinese detective has never been investigating in a casino, which is a very specific atmosphere, the gambling settings very special, providing many elements for a good mystery scheme. This film is produced by Twentieth Century Fox, the genuine production company of the series before it becomes Monogram Film Corporation.

Charlie Chan and "Number One Son" Lee are visiting Monte Carlo when a bank messenger is murdered and some bonds stolen. Sadly, this was Warner Oland's last Charlie Chan film. He's good in this, though he does seem a little 'off.' Whether this is my imagining things because I know about his problems offscreen, I don't know. He just doesn't seem as happy in this one as earlier films. Keye Luke is great, as always. Harold Huber, who appeared in Charlie Chan on Broadway as a different character, is fun here as a French police chief. It's not the best of the series, but still enjoyable. All of the Fox Chan films were at least watchable, whether Warner Oland or Sidney Toler were Chan. After the series moved to Monogram, quality declined greatly. The worst moments of Charlie Chan at Monte Carlo are better than anything in the Monogram series.

When Charlie and son Lee stay at Monte Carlo for an art exhibition (Lee's become a painter now), naturally they also visit the famous casino; where we soon get to know two exchange sharks, Gordon Karnoff and Paul Savarin, 'fighting' grimly even at a game of Baccara, while at the same time, Karnoff's wife Joan is in a tight spot: she took some of his metallurgic bonds out of his safe and for some strange reason gave them to bartender Al Rogers - and Karnoff intends to send those bonds to the stock market that same night to be sold, which would mean enormous losses for Savarin. She manages to recover the bonds, and her brother Gordon, Karnoff's secretary, places them back in the safe with the others, and so, after being checked, they're all sent by car to France. But when Charlie and Lee happen to come along that same road, they find the car stopped, the courier murdered, and the chauffeur missing...

So, eagerly, Monsieur Joubert from the Monaco police takes on the case - but very soon, he's in despair: the chauffeur is also found murdered, and literally everybody involved in the whole affair could be guilty: Savarin of course, who on top of it all was seen with pretty young Evelyn (who over the past few months suddenly became a rich socialite from the humble model she was before) near the scene of the crime, Joan and the mysterious bartender, her brother Gordon who had access to all of Karnoff's papers - and even Karnoff himself, because very soon the fact is revealed that those bonds were of course insured. A VERY hard nut to crack for Joubert! But Lee has got an even bigger difficulty to cope with: the French language, which he's supposed to have learned at college... Once his desperate tries to express himself correctly even get him and his father into jail on a murder charge! So there are Lee and Joubert to provide the comical elements, while Charlie's calm reasoning finally leads to the capture of the murderer; not the most ingenious of plots, but some very fine performances, and of course some VERY wise philosophical remarks of our Chinese master sleuth...

This is the last 'Charlie Chan' movie starring Warner Oland, because unfortunately he died just a few months later. But we shall never forget that he left to the world 16 MAGNIFICENT performances, which would forever shape the character of our favorite Asian detective - and which will live on for generations and generations to enjoy.

As usual, Charlie and Number One Son are visiting when coincidentally there are murders. This time they seem to have something to do with stolen securities which seem to vanish and re-appear like magic. Unlike many of the films, though, Chan and Son seem to be caught up more in the action instead of passively investigating after the fact.

Many of the reviews seem to feel this is one of the weakest of the Warner Oland Charlie Chan films, though I liked it quite a bit and felt it stacked up well with the earlier films from the series. Why did I like it? Well, the stolen bonds angle seemed pretty interesting, Harold Huber (who had just played a New York police inspector in CHARLIE CHAN ON Broadway) was pretty good as a French cop and the film certainly kept my attention. It's not great, but still is a very competent part of a series of excellent and enjoyable detective films and a cut above similar series.