The Solitaire Man

This is one of those little MGM quickies that is unfairly overlooked by both film fans and historians. Without giving anything away, the plot involves a jewel theft and murder, with the suspects aboard a plane flying from France to England. There are several plot twists before and after the plane lands. It may not be hard to guess who the villain really is, but the film maintains a good level of suspense and is well acted. It's not without a major goof, at one point in the film Lionel Atwill calls Herbert Marshall "Wallace", the name of Atwill's character. How MGM let that get by is a mystery. This film is a good example of what could be done on a limited budget.

What was it about jewel thieves in the 1930's? All the major studios seemed to thrive on them, especially in their "B" movies, one of the most delightful forays a film aptly titled "Jewel Robbery," from Warners, and starring dapper William Powell and clothes-horse Kay Francis. The sophisticate in The Solitaire Man is erudite Herbert Marshall, he of the rich, clipped English tones, a suave thief ready to give up his craft for love and move take his sweetheart, supportive Elizabeth Allen, to a manor home in respectable Devonshire.

Most films from MGM tended to be less snappy than the Warner's product, but this zippy little "B" begins on The Continent where rich folks hang out in fancy hotels, robbers sneak into lavish apartments, and there's even

a killer at work when the lights go out. This initial set up soon transfers to the interior of a small airplane (looking not unlike a large cardboard box with windows), where snappy give-and-take dialogue moves the pace along as fog closes in around the plane, the cool tones of Marshall contrasted with character actress Mary Boland, a rich, loudmouthed American from Peoria, who tosses out quips like candy while the rest of the cast quibbles about comeuppance.

This is not a film of great import, but if you are a fan of the period, it is great fun--with Boland and Marshall joined by such experts as Lionel Atwill and May Robson. On it's own merits, and not because it's a timeless classic, I'd give it an eight--It's a perfect Saturday matinée popcorn film--and there will be time for another feature, too!

THE SOLITAIRE MAN from 1933 is a B picture, but because it was made at MGM, it's really a B+. The studio used these Bs as a training ground for their up and coming young stars and even more established character actors.

Herbert Marshall is Oliver, who heads up a family of con artists, except they're not related. His "son" steals a necklace that Oliver attempts to return because he knows the young man would be the first person they would suspect.

While he is in the home, a burglar enters, and a policeman sees him. The second burglar kills the policeman, and Oliver is a witness. However, he can't see the murderer. Realizing things will get mighty hot, he and his crew try to leave the country by plane. During the flight, much is revealed.

Mary Boland and May Robson also appear in this film, and they're great. Boland plays a mouthy, wealthy American, and May Robson, as a cultured society woman. matches her excellence.

Herbert Marshall's elegant type of leading man has gone out of style, but he handled his role very well.

See it for Boland and Robson.

The Solitaire Man, like The Amateur Cracksman in "Raffles", or the Sparrow in "Twin Husbands," is a thief. Like many thieves who've been successful, he was getting out of the game.

Oliver Lane (Herbert Marshall) was the Solitaire Man and he had a small crew: Mrs. Vail (May Robson), Helen Heming (Elizabeth Allan), and Robert Bascom (Ralph Forbes). The gang was experiencing turmoil because Robert was in love with Helen who was in love with Oliver. Fortunately, this wasn't the principal part of the plot. That would've been the last thing I wanted to watch, but it was important.

Robert, who was a young upstart, put everyone in hot water when he stole a necklace. Oliver decided that putting it back was the safest and best course of action. When he went to place the necklace back where it belonged, someone else entered the dark room too. When a Scotland Yard officer entered the room he was shot and killed which made everything exponentially worse.

Oliver and crew scheduled a flight the very next day to Devonshire. On the plane they encountered a man claiming to be a Scotland Yard inspector, Inspector Wallace (Lionel Atwill), and he knew that Oliver was the Solitaire Man.

These are the kind of wrinkles I enjoy: a time crucial situation. I just watched "The Silk Express" in which a train had to get to New York in a certain amount of time. The main character was going to have to solve the murder that happened on the train before it reached New York if he was to have his silk offloaded on time.

In "The Solitaire Man" Oliver and his entire crew had until they reached England to figure out who killed the cop or Oliver would go down for the murder. It was compelling theater. There were a couple of lights out scenes in there which are a bit comical, but besides that it was a solid plot and script.

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THE SOLITAIRE MAN is a superb example of how MGM was head and shoulders above the other studios during this era - quite obviously a "B" movie, barely running an hour, it nevertheless boasts superior actors (several of them major film names) and an elegant polish that most other studios wouldn't have bothered with for a programmer.

Herbert Marshall stars as the leader of a small "family" of con artists, when a faux son steals a priceless necklace Marshall attempts to return it, knowing the protégé would be the obvious suspect when it is noticed missing. While he is in the home attempting to put the jewels back in the safe, another burglar breaks into the home and was spotted by a patrolling policeman. The second burglar kills the inspector which Marshall witnesses but can't see the murderer. Later as he attempts to flee the country with his accomplishes on a small plane, secrets and double-crosses are revealed during the long flight.

This comic crime-mystery is mainly worthwhile for the sole chance to see two of the 1930's greatest character actresses, Mary Boland and May Robson, together in the same film. These ladies, with Edna May Oliver, were the queen bees of character players of the era along with superstar Marie Dressler. Miss Boland is second-billed but doesn't show up until the film is almost half over, she quickly earns her star billing with a delicious turn as a brassy rich American who finds herself in unusual circumstances. Miss Boland is hilarious as always but here voicing her role in a boorish unsophisticated loud drawl rather than her normal dizzy musical tones. It's a superb characterization and she is matched by that wonderful septuagenarian May Robson as a presumably cultured society woman who is pretty blunt and earthy herself.

Jack Conway, one of MGM's major directors, does a fine job here with this limited material and when the second half-hour is almost completely set inside a small airplane passengers area it's scarcely noticed given the fine direction and acting. The entire cast is quite good and it's intriguing to see Marshall, Miss Robson, and Elizabeth Allen - all British or Australian - not cast as Americans as they usually were in Hollywood films. This little film is fairly predictable in it's denouement but with a fine cast, sharp direction, and some good wisecracks, it's well worth your time.