Penguin Pool Murder

I saw this movie at the Stanford Theater, a restored small-town movie palace of 1925. The Stanford only shows old classics, and often some films show up on the bill that sound completely unfamiliar, but sound like they might be worth a look.

Penguin Pool Murder is just such a film. When I reat a little bit about it, it didn't sound too interesting, but since I like the pre-code period so much, and I'd never seen an Edna Mae Oliver film before (other than a tiny snippet from Saturday Night Kid) I decided that I might as well go and see it.

PPM is a fast-paced and hilarious murder mystery, still as gleefully enjoyable as it was upon it's first release. The lead character, school marm Hildegarde Withers, is brilliantly portrayed by snappy, vivacious and proper Edna Mae Oliver. I'm sure some people might get annoyed by her high-toned and imperious British accent, but I loved it. It lent buoyancy to her already top-notch dialogue.

Despite it's status as a B-production (as opposed to a more prestigious "A" movie with more stars, more crowd scenes and an all-around bigger budget), PPM is a movie that reflect's Hollywood's unending attention to detail, high visual standards and emphasis on glamour whenever possible. Take for instance one of the first scenes: Mae Clarke in her posh boudoir, dressed in a shimmering evening gown, making a telephone call and getting accosted by her husband. Later, when she visits the aquarium, she's swathed in an enormous fur collar and the chiquest of clothes. Imagine how many depression-weary families went to see this, and the mother imagined herself with Clarke's clothes and figure. Dad could fancy himself her husband, and the kiddies would be entertained by the character's antics. This is, if any thing, a family in the best sense of the word.

Edger Kennedy has a small role in this, as the token blundering Irish cop. When I was a kid, I saw him perform his routines in the Our Gang shorts When the Wind Blows and The First Seven Years, and again as the antagonized street vendor in Duck Soup. Recently, I've come to dislike his "slow burn" technique, but I'm starting to like it again. It's an acquired taste, that's for sure. Here, Kennedy the cop has a shaved head, which I thought was a bit unusual.

I hope this movie comes out on video and DVD so I can own it for myself. To my limited knowledge, it's still relegated to the vaults, with the likes of so many great movies. Some day, people will begin to hear more about Edna Mae Oliver and want to see her films. Penguin Pool Murder will surface and be enjoyed by a whole new legion of fans. That day will be a good day indeed.

With the coming of sound to the movies and "the Crash" to the stock market, musicals, screwball comedies and tightly plotted "cozy" mysteries became staples of 30's film going and frequently a valuable, if unintentional, tour of the decade's culture (one of the potential motives of one of the suspects in THE PENGUIN POOL MURDERS is a "margin call" on a brokerage account about to be wiped out by falling stock prices!).

In 1932, a year after Dashiel Hammett had introduced the "hard boiled" detective to novels and films with his Sam Spade in THE MALTESE FALCON (a decade before the Oscar winning remake we all know today!), while Philo Vance was still at his peak, Charlie Chan had just started his marathon run, and two years before Dashiel Hammett would backtrack to seemingly invent the "comedy mystery" in the first of the THIN MAN series, Stuart Palmer's "Hildegarde Withers" stories were pointing the way to that perfect bantering comedy.

Miss Withers was one of the first screen characters to build on "the little old lady" detectives first introduced by Mary Roberts Rinehart and later to be highly polished - though with fewer comic overtones - in Agatha Christie's Miss Marple tales.

Beautifully acerbic character actress Edna May Oliver first assayed the plum role of Withers in THE PENGUIN POOL MURDER, playing every stereotype of the prim, corseted but observant, spinster school teacher for all they were worth against the background of a solidly plotted mystery and a grand supporting cast headed by perennial mystery fixture James Gleason as the much put-upon Inspector Piper. A New York City now long vanished became an active part of the supporting cast.

While Miss Oliver chose not to be pinned down to the continuing Withers role after only three films (THE PENGUIN POOL MURDER - '32, MURDER AT THE BLACKBOARD - '34 and MURDER ON A HONEYMOON - '35), passing on the part to solid comedienne Helen Broderick for the less well written but enjoyable and frequently aired MURDER ON THE BRIDAL PATH - '36 and (with less effect) fine supporting comedienne Zasu Pitts for a final two (THE PLOT THICKENS - '36, and FORTY NAUGHTY GIRLS - '37), all the Withers' films are fun - but the Olivers are the best of the bunch.

Connoisseurs of period mystery should especially treasure THE PENGUIN POOL MURDER for its location shots of some now vanished (or at least radically transformed) Manhattan landmarks - most notably the then New York City Aquarium (long before the institution decamped to Brooklyn).

The building at Battery Park, at the tip of Manhattan, has since lost its roof and interior to be returned to its original (now landmarked) form as the actual battery (a fort - "Castle Clinton") which protected New York Harbor in the early 1800's. Before becoming the Aquarium shown in the 1932 film it was already a famous roofed building: converted in 1823 to the "Castle Garden" theatre where in the 1850's Jenny Lind, "the Swedish Nightingale," made her American debut and Lola Montes danced! From 1855 to 1890, it was the United States' immigration depot before Ellis Island was built, and as such, the first ground in America millions of immigrants set foot on. Then, for years it was the New York City Aquarium where Manhattanites could see examples of aquatic life (and the occasional movie corpse).

The Aquarium would not pass muster today for the cramped, indeed life threatening, conditions its inmates were forced to endure - but that in itself is part of the realistic picture of life in the 30's seemingly minor films like these can offer. While the Aquarium interiors were studio recreations, these had to be believable pictures of the world the audiences they were issued to lived in, and we can learn a lot from them about that world as a result. We have come a long way . . . in some ways.

Today, New York's Battery Park grows out from and around the building which beautifully starts of THE PENGUIN POOL MURDERS. The Park contains - directly in front of the former Aquarium - the most eloquent and complete memorial the tragedy of 9/11/01 could possibly have: the "fractured globe" which originally sat in the Plaza between the Twin Towers - now with an "eternal flame" at its base. If you're going to be in New York, don't miss this increasingly meaningful piece of sculpture - but first see its setting as it looked 70 years earlier in delightful PENGUIN POOL MURDERS!

PENGUIN POOL MURDER (RKO Radio, 1932), directed by George Archainbaud, the first (and best) of six film mystery series featuring Stuart Palmer's fictional character of Hildegarde Withers, a spinster schoolteacher, who matches wits with Oscar Piper, a New York City police inspector, is a rare find these days, considering how it predates Agatha Christie's better known female sleuth of Miss Marple. In retrospect, Hildegarde becomes a detective on her own only when the police cannot solve or deduct any clues she encounters, and yet, not being on a professional level when crime solving is concerned, proves that experience is not the issue, but the powers of deduction are.

The story opens with an air view of New York City's Battery Park where various characters are introduced: Gwen (Mae Clarke), a young woman married to Gerald Parker (Guy Usher), a middle-aged businessman, having secret rendezvous with her lover, Philip Seymour (Donald Cook) at an aquarium. Obviously, she wants a divorce but Parker won't grant her one. After receiving an anonymous telephone tip about his wife, Parker heads over to the aquarium where he catches Gwen and Phil together. At the same time, Hildegarde Withers (Edna May Oliver), a spinster schoolteacher, enters the scene with her students on a field trip. Aside from her encounter with a purse snatcher who happens to be the deaf and dumb Chicago Lew (Joe Hernando), a body of a dead man is discovered floating in one of the penguin pool tanks. The man in question happens to be Gerald Parker. Police Inspector Oscar Piper (James Gleason) is called into the case. He suspects Parker's wife to be the killer, however, her lover, Seymour, confesses to the crime and is arrested. Hildegarde, however, has her suspicions, and as she takes notes, comes to the conclusion that Seymour couldn't have possibly killed him. Regardless, Seymour is placed under arrest and put under suspicion. After learning that Parker was murdered with the use of her own hat pin found plunged into his right ear drum to the brain, Hildegarde decides to take matters into her own hands by becoming a crime solver herself, much to the dismay of Inspector Oscar Piper.

The success to the initial pairing of Edna May Oliver and James Gleason lead to several sequels, all featuring Gleason, two more starring Oliver, including MURDER ON THE BLACKBOARD (1934) and MURDER ON A HONEYMOON (1935), one with Helen Broderick in MURDER ON THE BRIDLE PATH (1936), and two featuring ZaSu Pitts in THE PLOT THICKENS (1936) and FORTY NAUGHTY GIRLS (1937). While Broderick physically was a satisfactory substitute for Oliver, though no where as good as Oliver, the series actually fell apart once it acquired Pitts services, which brought an end to what might have become a long running film series.

Supporting cast consists of Edgar Kennedy as Donovan; Robert Armstrong as Barry Costello, the attorney; Gustav Von Seyffertitz as Max Von Donnen, the lab expert; Clarence Wilson as the aquarium director; Sidney Miller as the typical know-it-all student; and Rochelle Hudson as the Switchboard Girl. Edgar Kennedy, famous for his "slow-burn" characterizations in numerous features and comedy shorts, is completely bald in this installment, mainly due to the fact that he was playing Daddy Warbucks in LITTLE ORPHAN ANNIE (1932) with Mitzi Green, about the same time he was working in PENGUIN POOL MURDER.

Never distributed to video or DVD, and at one time a late night show favorite on commercial TV channels, and formerly shown on cable television's American Movie Classics from the 1980s to 1998, at then on Turner Classic Movies where it had once been presented some years ago as part of viewer's request night.

In spite of its age, PENGUIN POOL MURDER surprisingly holds up well, thanks to the perfect casting of the horse-faced Edna May Oliver and New York sounding James Gleason in the leads, a well written and occasionally witty screenplay by Willis Goldbeck, and although viewers might guess whom the killer might be before it is all over, it's certainly fun to sit through this one to see through Hildegarde's power of deduction how she gets to trick the killer into reveal him or herself. While not in the same league as an Alfred Hitchcock movie suspensor or Agatha Christie mystery story, but themes such as this have been an inspiration for many mystery writers, film directors or TV writers in later years, for that mysteries such as this continue to delight audiences even today. (**1/2)

It's really too bad that they only made a few Hildegarde Withers mysteries and that only a few of these starred Edna May Oliver. The bottom line is that in the 1930s, no woman in Hollywood was more fun to watch in colorful supporting roles than Miss Oliver, so it was a real treat to see her in a starring role--and one that allowed her cool screen persona to shine! Instead of the usual somewhat insipid detective series films, her Miss Withers was a smart-aleck and tough lady--not some pampered playboy or Chinese detective. Plus, it was a great casting decision to have her work with police detective James Gleason and give him better than usual writing for such a role. In practically every B-detective series, the police are complete morons--so much so that the films lack any suspense or chemistry at times. Usually you KNOW the cops are all idiots and the amateur sleuth knows everything, but here she is assisted by a reasonably capable cop and they work on the case together. Because of this, it was cute to see that through the course of the film, Gleason's character fell for Miss Withers--he grew to love and respect her just like the audience did throughout the film.

For the genre, this is about as good a film as you'll find--plus, it has cute penguins and Edna May Oliver!! What more could you ask for in a movie?!?!

This is the first of three films that Oliver and Gleason made together as teacher Miss Withers and Inspector Piper. It is also the best, though Murder on the Blackboard is also top notch. The series continued without Oliver, but not at the same level. The dialogue is witty, prim, sarcastic and sometimes even suggestive. Gleason and Oliver have a fabulous chemistry, the likes of which would never been seen today, due to casting decisions that have more to do with pretty faces that acting talent and intelligence. If you like early talkie mysteries, this one will satisfy anytime.