Charlie Chan in Egypt

"Waiting for tomorrow, waste of today!" and other Chan aphorisms account for just a small portion of the delightful entertainment afforded by this eleventh offering in the 47-picture series. But for one distressing lapse, it might even rank as the best. That lapse is Mr Stepin Fetchit, about whom the less said, the better. Fortunately, his role is small, although, alas, it's considerably larger than that enjoyed by the lovely Rita Hayworth who seems to have spent most of her Fox sojourn posing for charming stills. Her role in the actual movie is inconsequential although she does manage to exchange a few lines with Warner Oland. Otherwise, all she does is to hover in the background of a few scenes.

Oland, of course, is in top form, but so are the other players, and even more importantly the Robert Ellis-Helen Logan script comes across as a real winner. Although the identity of the killer will fail to stump many viewers, the puzzle is admirably contrived and the plot worked out with commendable pace, precision and power.

This is no "B" picture. The sets are stunning. Daniel Clark's noirishly atmospheric photography also deserves special mention and even the normally humdrum director, Louis King (brother of Henry King) has risen to the occasion.

Of the dozens of Charlie Chan films, this stands as one of the best--even though it sadly co-stars the biggest walking negative stereotype in movie history, Stepin Fetchit. Once again, Fetchit plays a rather sub-human part but at least he's a little less degrading than usual and the rest of the film is exceptional.

This film is very much like a combination of a Chan film and a mummy film--and because of the interesting backdrop the film seems far fresher and more interesting than most in the series. Charlie has been sent to an archaeological dig by a French museum. It seems the museum is justifiably angry because items from the tomb belong to them but someone has been selling them to collectors and other museums. Naturally, when Chan arrives people begin to die and it's up to Charlie to get to the bottom of it.

Despite not having any of the Chan children (particularly the ever enjoyable Keye Luke as "Lee"), this is a dandy film with some interesting twists and a mystery that is a tad over-complicated but fun to unravel. As far as my feelings about Fetchit, in this film he didn't act that much different than the Birmingham Brown character from the later Chan film, so perhaps I am just being a tad oversensitive. It's just that in so many prior films Fetchit was the living embodiment of all the negative Black stereotypes--so bad that seeing him once again kind of made me cringe.

Warner Oland does it again with a great performance as Chan. This one also has a great setting and creepy atmosphere. It is set at a newly excavated Egyptian tomb with all the trappings. There are some genuinely scary sequences creeping around the tomb at night. A young Rita Hayworth (billed as Rita Cansino) has a small part. The only drawback for me is the stereotyped portrayal by Stephin Fechit. He is hard to understand and very annoying at times. The performances by Mantan Moreland and Willie Best in the much later Monogram Chans serve the same niche as Fechit's "Snowshoes" character, but come off much better and are funny in the same way Lou Costello or Curly Howard are funny. But this does not harm the picture. Another one to see over and over again just for the atmosphere if nothing else.

Warner Oland works on behalf of French Archaeological Society concerning Egyptian antiquities being sold to private collectors and rival museums. Before the case is solved, Chan will uncover and solve a murder and avoid being done in. Mystery is pretty straight forward with fewer misleading clues than most of this series. "Theory like mist on eyeglasses -- obscures facts." Chan still (as usual) does not reveal all until the end although this time with the paucity of suspects it is more likely that you can guess the guilty party. Story relies more on travelog-type shots, similarity to real-life and contemporary film mysteries about mummies and tombs, and basic lectures on how X-rays work and archaeology to keep interest. It works. Pat Paterson (Charles Boyer's real life wife) does a credible job as the damsel in distress and under the influence of cannabis. Stepin Fetchit's role as a bug-eyed dim-witted servant will upset modern viewers and probably served as comic relief to contemporary audiences. Although an unrecognizable Rita Cansino (Rita Hayworth's real last name) is given a credit at the beginning of the film, she hardly has any lines. Not as good as Charlie Chan in London or Paris, but one that dedicated fans will not want to miss. Recommended.

This has always been one of my favourite Warner Oland Chan's, made even more suitably murky and mysterious by the passage of time and the way it's been handled since it was made.

Charlie's in Egypt to track down the person responsible for leaking valuable ancient artifacts into European collections, finding murder as well. With some fantastic atmospheric sets as backdrop and a great cast he and the ever dependable Thomas Beck act as a team to get to the bottom of the mystery and nab the culprit. Every other post has highlighted the main problem with it: Stepin Fetchit. It's a shame they put him in but it's not a problem to me as I don't watch it for him shuffling and mumbling along but for the main story unfolding around the rest of the cast. His major scenes could easily be cut out or altered to save everyone's black and white blushes today - but where would you stop? Airbrush cigarettes, smoke and alcohol, cgi over carbon non-neutral cars or low efficiency lightbulbs, even change Oland to a white Swede and superimpose a black superhero in goodie Beck's place to engage a more proactive and socially inclusive demographic, erase mention of Egypt to try to disguise the colonial connotations etc? And of course if we went that far also add plenty of mindless graphic sex and violence because that's OK in todays crazy world; the Nazis would have simply burned all the prints of this and everything considered similar and revised the history books.

With all its faults I'm grateful for what we've got – some of the early Chan's are lost forever – at the very least for an insight into the human mental condition as it existed in Hollywood in 1935 but more for as it exists around the world today. If you really don't like it you could campaign for its destruction, but if you like watching pre WW2 b&w middle brow detective movies containing innumerable dead people like this like me watch it without angst as a good film.