Charlie Chan in London

Chan is in London returning a suspect he has captured to British authorities when he receives an appeal from Pamela Gray concerning her brother Hugh, who has been condemned to hang in three days for a murder she believes he did not commit. Chan takes the case and goes to the estate of Geoffrey Richmond (Alan Mowbrey), where the murder was committed. People at the estate say that Hugh and the victim, who never liked one another, were heard arguing about some unknown issue, and then later the body of the victim was found near the stables and Hugh was found walking from the stables towards the house. Does Charlie Chan solve the case? Of course he does! What a downer if he did not!

On top of the usual red herrings tossed into such detective films - the one person sneaking around menacingly, another protesting too loudly about the entire follow up investigation being a waste of time and so on, the maid is a piece of work. She's a shrieker plus she likes to hover over people even when they make it clear they want to be left alone. This film would have been more enjoyable without the barbaric practice of fox hunting being central to the plot, but then hindsight is 20/20.

The tension of the time ticking down to Hugh's execution is an added boost, and then there is a very young Ray Milland in a supporting role and E. E. Clive as a befuddled police inspector. And you have to wonder why law enforcement didn't ask the same basic questions that Chan asks during his investigation. Recommended.

Of the first four Chan films in the Fox series, Charlie Chan Carries On (1931), Charlie Chan's Chance (1932), and Charlie Chan's Greatest Case (1933) have been lost; only the 1931 THE BLACK CAMEL remains to show the series in its early developmental stage. By the time of CHARLIE CHAN IN London the series has reached the standards that made it so widely beloved, a neat mixture of comedy and mystery, good production values, and solid acting.

As is typical of the Chan series, the cast is first rate, offering an early glimpse of future Oscar-winner Ray Milland as well as a memorable performance by character actor E.E. Clive, who graced such films of the era as THE INVISIBLE MAN and DRACULA'S DAUGHTER. In this episode, Chan has traveled to England to bring a criminal captured in Hawaii to British justice--and is on the point of departure when he asked to intervene in a notorious murder case. With a man already convicted, Chan has but sixty-some hours to unmask the real killer before the wrongly convicted Paul Gray (Douglas Walton) is sent to his death.

In some respects the film shows its era: it is very distinctly of the early sound period, and the camera is static and the performances often broad. But it captures all the essential elements of the Chan series as it starred Warner Oland, and (like THE BLACK CAMEL before it) it very specifically sets up Chan to use the racist attitudes of others to crime-solving effect. Warner Oland's Chan, and to a lesser extent Sidney Toler's Chan, would often encourage others to dismiss him as a "stupid Chinaman" all the better to trick the killer into carelessness--and the plot device is particularly apparent in the earliest Chan films.

While CHARLIE CHAN IN London will never make a critic's short list of great films, it is quite a bit of fun, and Chan fans will enjoy it. Unfortunately, the film is not available on either VHS or DVD in the United States, and since it is considered "politically incorrect" it is rarely broadcast; Chan fans will have a hard time tracking it down.

Gary F. Taylor, aka GFT, Amazon Reviewer

I've been a Charlie Chan fan since the early 70s when, as a 9 year old, I can remember watching the movies on the Late Show. While I can find something to enjoy in every one of these films, Charlie Chan in London is one of my favorites of the series. In this one, Chan is in a race against time as he's only got three days to save the life of a man wrongly accused of murder. It's got everything a Chan fan could ask for - an interesting mystery, a boatload of suspects, actually good comic relief, nice production values, and, of course, Warner Oland. By the time Charlie Chan in London was made, Oland seems to have hit his stride playing the title role. He's confident, polite, and brilliant - all the personality traits I've always associated with Chan. The supporting cast is as good in this one as you'll find in any of the Chan films. Ray Milland may be the most recognizable name, but it's the performances of Alan Mowbray and the incredible, scene-stealing E.E. Clive that really standout. The mystery at the center of the plot is well thought and the clues lead to a logical conclusion. Charlie Chan in London is a good one to play along with. It doesn't "cheat" as much with the reveal as some of the other Chan films.

Warner Oland may work best under pressure as Charlie Chan In London shows. About to leave London he is moved by the pleas of Drue Leyton who is trying to save her brother Douglas Walton from the hangman. She has used her appeal up with the Home Secretary David Torrence and even Ray Milland, Walton's lawyer says he thinks his client probably did it. But apparently Charlie Chan is moved by a woman in distress.

The murder was of an RAF officer and it took place in the stables of Alan Mowbray's estate during fox hunting season. Oland who is without the assistance of any of his kids, starts turning up clues and another murder of the groom Perry Ivins and an attempt is made against Mona Barrie and twice on Oland himself.

To say Charlie Chan was under the gun in this film was putting it mildly. He has about 65 hours to find the real killer. Do you doubt he will succeed.

The original motive if Walton were the killer is said to be personal, but it turns out to have far reaching implications when the real killer is apprehended.

Charlie Chan In London is one of the best of Oland Charlie Chan films and holds up nicely today.

Chronologically it's the 2nd Chan film extant after Black Camel, 4 others remain lost - Charlie is either getting into his stride in this or had already done so previously! The formula was in place, all they had to do from now on was reprise it with variations a couple of times a year. Whenever on TV in the past it always appeared murky to me but the copy I've just seen was pristine, with an astonishingly clear soundtrack.

Paul Gray is incarcerated in Pentonville for murder but in a few days time is to hang – his sister believes him innocent, and apparently so does Charlie as he postpones his voyage to Honolulu to help them out. When arriving at the country house in Retfordshire where the deed was done he finds himself up against a wall of suspicious British stereotypes, ranging from Cockney idiots and brusque snobs to out and out racists, which of course he continually uses to his advantage in his unravelling of the case. And he unravels it perfectly, with a plethora of marvellous aphorisms and red herrings, but as so often had to happen also with a fool-the-murderer-into-finally-exposing-him/herself denouement.

Swedish Warner Oland gave a wonderfully urbane performance as usual as the Chinese detective. Sadly as time goes on it's shown less and less on TV, partly because the schedulers who may not want to offend Chinese sensibilities also prefer to show violent and deviant films to the public instead, and partly because the public want it that way too. Hunt a copy down and revel in it!