The Death Kiss

Here's another important early detective movie. It is important because it is early in the life of talkies (just two years after, really); it is a mystery (which was just being invented cinematically); and it is "folded."

That last means that it is a movie. And it is about a movie. All the characters except the hapless police detective are part of the movie within, which is also called "The Death Kiss." That designated detective is our usual surrogate: in the outer film trying to suss out the inner.

The murder in question is a murder in the movie within that is "real," meaning it is also in the outer movie. The real detective turns out to be the writer of the inner movie. I am not sure if this is the first appearance of this particular device. I would appreciate hearing if it is not. If it is, this film is of enormous importance. If not, it is still important, though for enjoyment purposes, well its pretty far down the list.

I'm tentatively making this a "worth watching," but if I confirm that it is the first talking with a movie with written by the same guy that writes the outer movie, I'll elevate it to a four.

Ted's Evaluation -- 3 of 3: Worth watching.

Another pleasant surprise from a 50 set Mystery Classic DVD package put out by Treeline Films. The Death Kiss is a diverting early 30's murder mystery set against the backdrop of a Hollywood studio movie production.This viewer enjoyed the knowing glimpse of the inner workings of a studio...the "Old Country" Jewish studio boss(with the fractured English and acute cost consciousness),the Big Star actress with a rocky private life,and the amateur sleuth screen writer.The whole cast , in this not exactly big budget film, is first-rate(a little too broad on the comedy relief). Good looking. likable chap David Manners plays the writer, and seems to be having a lot of fun doing so(what's with these David Manners bashers? My God, you'd think he was as bad as George Raft -The All-Time Worst "actor").) Bela Lugosi is earnest but somewhat out of place here.The Death Kiss keeps you guessing and is a nice flash-back to "Talkies" and actual "ice" in the ice box. Take a look....

I've got to admit my initial attraction to this movie was the fact that Bela Lugosi was in it...going in for that reason, this film will prove a disappointment as Bela's role is a relatively short one.

Despite this, I have to admit to enjoying this somewhat fanciful murder mystery which has the detective writer as the hero and ultimately a more competent detective than the real thing. This story about a murder on a movie set still feels more like a movie than real life..but the murder mystery does keep you guessing and interested which means it's certainly worth a watch.

"The Death Kiss" (Tiffany, 1932), directed by Edwin L. Marin, might have been a very interesting vampire movie, but instead, the director fools his movie audience by revealing, from the very first few minutes into the story, to be an inside study at the behind the scenes look in movie making, combining murder mystery with comedy, but not all too successfully. The main interest is not in the "who done it" plot itself, but on its three major actors, David Manners, Bela Lugosi and Edward Van Sloan, better known today for their performances in director Tod Browning's thriller, "Dracula" (Universal, 1931), with Lugosi as the title-role character-star with Manners and Van Sloan in support. In this reunion, Manners takes center stage over Lugosi and Van Sloan in smaller roles. Although Lugosi is not in every scene, he does make his presence felt throughout its 70 minute venture.

The fade-in of "The Death Kiss" opens outside a ritzy nightspot where a woman is to mark a certain man for death by kissing him in the lobby of a fashionable apartment building. Moments later, gun shots are fired by passing mobsters, killing the man in question, followed by a crowd gathering. Then the camera pulls away, revealing the sound stage and focusing on the behind-the-scenes crew consisting of a script girl, cameramen, assistant director, and director (Edward Van Sloan) who wants to have a retake, feeling that the death scene did not look realistic enough. Hollywood realism sets in when moments later, it is revealed that the actor, Myles Brent (Edmund Burns), the doomed character in the production of THE DEATH KISS, has actually been shot and killed. Top-billed David Manners as Franklin Drew, a mystery writer, steps into the picture trying to solve the murder in order to prevent the leading lady, Marcia Lane (Adrienne Ames), whom he has become interested, from becoming the prime suspect. Detectives are called in, and after a few more murders at the movie studio, Drew draws to his own conclusions as the detectives (and the viewers) become baffled before the killer is revealed.

The supporting cast includes Bela Lugosi as Joseph Steiner, president of the Tonart movie studio; Edward Van Sloan as Tom Avery, the film director; John Wray as Detective Sheehan; Vince Barnett as Officer Gulliver, affectionately called "a Keystone Cop" due to his buffoonery; Alexander Carr as the accented Leon A. Grossmith; with Barbara Bedford as the script girl; and Harold Waldridge as Charlie, the bellboy, among others.

A rediscovered "poverty row" mystery that enjoyed frequent revivals during the early years of cable television in the 1980s, "The Death Kiss" recently has been restored with hand-tinted red color sequences used in parts with studio lights and gun shots, but otherwise a routinely old-fashioned mystery from the short-lived Tiffany Studios and not by Universal. A public domain title, "The Death Kiss" has been available on video cassette by numerous distributors in the 1980s. Currently, the best clear and sounding print can be found on both restored video copies and/or from Turner Classic Movies where it airs in October in honor of Halloween.

Although the storyline can be confusing at times, with director Edwin L. Marin continuing to play tricks on his movie audience (as with his opening scene and movie title) by keeping them guessing, with the "comedy relief" turning out not to be all that amusing, "The Death Kiss" in turn is a likable little time filler from the bygone days of Hollywood.(*1/2)

"The Death Kiss" (1933) should be a nice surprise for those who like traditional murder mysteries. It's a movie within a movie and both have the same title, which refers to the on- screen murder of movie star Myles Brent during the filming of the last scene of a film called the "The Death Kiss". He is shot while playing a scene in which he is shot, a development that was about to be written off by the police as a prop man's accident until they discovered that the bullet was a different caliber than the guns being used in the production.

The police then turn their attentions to his co-star and ex-wife Marsha Lane (Andienne Ames) which inspires her boyfriend (David Manners) to do some amateur sleuthing to track down the real murderer.

"The Death Kiss" could qualify as the first buddy picture as he is closely assisted by his friend Officer 'Gully' Gulliver (Vince Barnett), a bumbling studio security guard who provides the film's comic relief. The mix of serious murder mystery and comedy is in perfect proportion and Barnett gives a truly exceptional performance. Much of the humor comes from the pair's ability to stay just ahead of the police, much to the irritation of the detectives doing the investigation and to the crowing delight of Gully.

There are an array of suspects (Brent would not have won a popularity contest) besides Miss Lane including studio executives Joseph Steiner (Bela Lugosi), Leon Grossman (Alexander Carr) and Tom Avery (Edward Van Sloan). Lugosi's name and likeness headline the DVD package and while his part is substantial, it is still just that of a supporting character.

There are enough red herrings to keep the viewer guessing and the pacing is quite fast even with limited action sequences. There are significant advantages associated with setting a screenplay in a movie studio. The cost savings in set design, the appeal of the movie industry to viewers, and the fact that the writer can draw upon occupations with which he is familiar to give the script convincing authenticity.

One thing to watch for is the use of color in a few sequences in this otherwise black and white film. When there is a fire in the projection booth and later a chase scene with flashlights, the producers enhanced the effect with an amber tint. This was applied to the prints (at least some of them) by stencils, which masked the majority of the frame so artists could color in the portion that was to be amber. Since there are 24 frames per second it was only necessary to apply this process to every other or every third frame to get the effect, but it was still an extremely labor-intensive process. "The Death Kiss" was not the first time this was done but it was the most effective because the cinematography made excellent use of light and shadow, with the contrast nicely enhancing the effect of the amber frames. Technically this gimmick was a forerunner of stuff like "Smell-o-vision", "Emergo", "Illusion- o", and "Sensurround".

The DVD and TMC prints are serviceable but obviously worse for the wear. There are a number of audio and video dropouts but the story seems to be complete.

Then again, what do I know? I'm only a child.