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This pre-Code WB production is typical of the period—a fast-talking lead, a batch of loose dames, a rather comical supporting cast, and an upbeat tempo.

As tough, aggressive cop named "Butch", O'Brien machine-guns his dialogue in pretty strident tones. Trouble is it does get tiresome. As Butch, he's sent over to Missing Persons Bureau from his former assignment to hopefully mellow out. Fat chance. Anyway, the screenplay weaves a number of missing person cases into the narrative, with the Bette Davis case being primary. An authoritative, no-nonsense Lewis Stone presides over the bureau that makes you believe he can handle the thuggish new guy. This was before Stone became enshrined in the Andy Hardy series. On the whole, Davis may get the billing but it's really O'Brien's movie.

With the comically adept likes of Farrell, Jenkins, Herbert, and Donnelly, there're a number of chuckles. But what I really like is that bit of business at the coffee bar, where condiments slide back and forth like hockey pucks. I wonder if that was director Del Ruth, a generally underrated craftsman with occasional flair. Despite the title, there's no mystery but there is some suspense near the end. All in all, the 73-minutes is more like a fabric of characters colorfully interwoven.

This is one of the fastest-moving classic films I've ever seen....and very interesting. The story tells of the many people who report missing persons In New York City, and some of the wild stories behind these disappearances. Some are humorous, but most are sad. The main one here centers around Bette Davis, who is wanted in Chicago for allegedly murdering her husband. She meets up with Pat O'Brien, a tough-talking, hard-nosed cop who has just been reluctantly signed up to the bureau.

The dialog is dated but that's what makes some of these early 1930s films interesting. Today, O'Brien would have been slapped with numerous harassment charges the way he talked to women in here and then beat one up late in the movie.

Lewis Stone is excellent as the compassionate head of the bureau. All the characters are interesting and there are some neat plot twists near the end concerning Davis, O'Brien and another man whom Davis says is framing her. I never thought Davis was that attractive but, as young actress here, she looked hot, perhaps the best she ever looked.

It is a typically fun high-speed Warner's. Cocky detective Pat O'Brien has just been kicked downstairs to the eponymous branch, wearing a derby hat. Bureau chief Lewis Stone tells him that his old-fashioned brutality won't work here.

the movie starts off as a series of vignettes about the sort of people who go missing and why, ranging from cringeworthy (Hugh Herbert and Alan Jenkins argue about how put together "jigsaws" -- corpses that have been chopped up) to amusing -- one recovered husband had disappeared because his young wife had been too physically demanding.

Despite the speed of the speech (except by Stone, who maintains the same emphatic style that he would use in Andy Hardy movies) and the zip cuts, the real story doesn't begin until half an hour into this 73-minute movie, when Bette Davis walks in, asking about her missing husband. The story quickly becomes complicated and sustains interest to the end, where O'Brien wears a Fedora to symbolize his redemptive modernity.

It's an unassuming movie , meant for fun, and it goes to demonstrate the brilliance of Warners' production in this period. Both the brutality and gags are kept offstage, lending a blase attitude towards the best and the worst. Herbert gets a rare straight outing, and does a good job. It's a pity that the movies seem incapable of speed and fun like this anymore.

Every day the front desk of the Bureau of Missing Persons is crowded with people trying to locate loved ones who have turned up missing - some by accident and some on purpose. Not sure if this picture is accurate in its conception of a BMP, but it's a fascinating look at how it might be. It presents a series of vignettes, some funny some serious, of different cases the Bureau might handle.

The main focus is on the newest arrival at the Bureau, a cop (Pat O'Brien)assigned to the Bureau after one too many brutal arrests. He is assigned the case of a woman (Bette Davis) looking for her husband, and with an air of suspicion attached. O'Brien is a strong-armed sort who is assertive and, as is his custom, talks in a loud, penetrating staccato voice which can soon become tiresome. Davis is very pretty here. Her looks did not hold up and grew harder as she got older. There is good chemistry between the two and they rise above the muddled material presented here, dated though it is.

If you are a Golden Age fan, there are many familiar faces, among them Lewis Stone as the Bureau chief, Glenda Farrell as O'Brien's estranged (and strange) wife, Hugh Herbert as a Bureau detective and many more. This formed the basis for my rating because, as previously stated, the material here is hum-drum and somewhat confusing. I thought the picture was fun and better than several reviewers gave it credit for.

Pat O'Brien, Lewis Stone, Bette Davis, Glenda Farrell, and Allen Jenkins star in "Bureau of Missing Persons," a 1933 film from Warner Brothers. I noticed that one person who posted said that this was an extremely fast-moving film. I thought it would never end.

O'Brien plays Butch Saunders, a detective who is thought to have been a little too violent in his police work, so he is assigned the Bureau. He turns out to be good at his job.

Davis plays a young woman whose husband is missing. Normally in her early films, Davis is very blond, and very glamorous. Here she's not. Her role is an interesting one, with a couple of twists. She's very good, of course, but I doubt she would have been happy in this type of role for her entire career.

There are some other plot lines going on, with Lewis Stone a kindly man who tries to help people, and Glenda Farrell gives a fun performance as Belle. It's a familiar cast in their very young days and worth seeing for that reason. I admit I found it dragged a little.