The Firebird

This Warner Bros. film starts off slowly as a romantic drama, but then becomes a fast paced murder mystery with an ending hard to predict. I was not especially put off by the stage origin of the screenplay, the inauthentic accents of a story supposedly set in Vienna, or the tenuous connection to the Firebird, either as myth or music. The performances of the principals were weak: Ricardo Cortez as the victim, Verree Teasdale (overacting), and Anita Louise (quite beautiful, but unconvincing). This is more than made up for by the supporting roles of Dorothy Tree as the sharp-tongued ex-wife of the victim and Lionel Atwill as the initially oblivious and later befuddled husband/father. Even C. Aubrey Smith, usually relegated to pipe smoking and pontificating, has a more substantial role in this film as the inspector who actually solves the crime.

I had never heard of this movie, and had never seen Verree Teasdale given top billing in a film, so I tuned in for the novelty value.

It turned out to be a very pleasant surprise -- a fast-paced story, imaginatively presented.

The cast is full of faces familiar to any '30s movie fan -- C. Aubrey Smith, Ricardo Cortez (he of the dazzling smile), Anita Louise.

There's even a wire-haired terrier that looks like the dog who played Asta (I don't know the canine actor's name!)

So I recommend this as a little-known but certainly worth-seeing gem, and a great reason for keeping your TCM subscription up to date.

You can tell that a lot of production money was thrown at THE FIREBIRD but for the life of me I can't tell why it's set in Germany. Ricardo Cortez (the corpse to be) plays a horndog actor with a shady past who lives in a high class apartment building. There's an angry ex-wife, an effeminate personal assistant that's in love with the corpse's Dachsund, and well heeled neighbors with a lovely daughter (Anita Louise) who fear for their reputation. C. Aubrey Smith, the 71-year old impeccable Englishman, plays the police inspector. Remember this is supposed to be set in 1934 Germany (what, no Nazis?). Except for the wiener dog, the apartment manager's pipe, beer swilling policeman and some German shop signs, you'd never know it. Not one stab at an accent between them. A standard whodunnit.

In "The Firebird", Ricardo Cortez plays Herman Brandt, a stage actor and complete cad who loves to use women in order to further his fortunes. Again and again, you see him treating these women like dirt...so it's no surprise when eventually he is found dead in his apartment...a murder victim. So, it's up to the local police inspector (C. Aubrey Smith) to determined who did it and why.

This film had a very nice cast. Cortez was good, as always, as a smooth and amoral cad. As for the rest, many are exceptional supporting actors (such as Smith, Anita Louise and Lionel Atwill) and they work together to make a very dandy picture. I especially liked the way the Inspector handled the case.

The Firebird is a typical thirties whodunit that turns out to be a surprising overachiever as cast and crew put on a highly impressive display of collective film craftsmanship. Rather than just go through the motions with the standard stock characters reciting their lines director William Dieterle embellishes the proceedings with both comic and suspenseful incidentals, character nuance and a pace that only flags occasionally as he keeps the audience off balance with a myriad of suspects moving about the luxury apartment complex like characters in a Feydeau farce.

Herman Brandt, a popular stage actor begins to pursue a politician's wife who rebuffs his brazen advances but rather than make a scene and bring scandal to her politician husband they decide to move out. When the smarmy Brandt is murdered in his apartment suspects abound.

The Firebird's scenario is standard Chan, Moto, Saint plot line that quickly rises to another level through Dieterle's energetic rhythm of cutting and character idiosyncrasies that flood scenes with rich detail and engrossing composition by way of Ernest Haller's fine camera work and Anton Grot's beautifully lit, lush but unpretentious sets. Ralph Dawson's editing perfectly accents the tempo by seamlessly melding it to the physical action of exits and entrances.

Unhampered by a big star Firebird's cast is nearly pitch perfect in type and creating ambiguity. Dieterle is not content to have the actor's stand around with gaping mouths and side glances as the plot unwinds. Whether it's the small roll of the concierge, the governess, valet or tenant Dieterle infuses them with an offbeat individuality that results in both sustaining suspense and delivering some sharp gallows humor. C.Aubrey Smith's police inspector appears noble but employs devious method. His excellency played by Lionel Atwill is both sensitive and a book burner. Her excellency (Veree Teasdale) is also a traditionalist snob but ready willing and able to make the ultimate sacrifice.

While the melodrama may get a little thick at times The Firebird is a run of the mill mystery but its execution in terms of form and the comically provocative shots it takes at the class system, theatre people, cops and celebrity make it a diamond (albeit small carat) in the rough.