The Death Kiss

"The Death Kiss" has been played up in recent years as a suggested horror film starring Bela Lugosi. In fact it is an interesting little murder mystery with Lugosi playing only a supporting role. Directed by first time director Edwin L. Marin, it contains many little plot twists to keep the viewer's interest.

In the opening scene for example, a man is shot down as he leaves a posh night club following an unsolicited "death kiss' from an attractive woman. It turns out that we were in fact watching the shooting of a movie. It also turns out that the actor who was "shot", Myles Brent (Edmund Burns) was really killed. So we are introduced to another of those Hollywood "behind the scenes" stories.

Detectives Sheehan (John Wray) and Sgt. Hilliker (wade Boheler) arrive on the scene. Turns out that Brent had been shot with a .38 caliber pistol while the props used in the scene were .45 caliber containing blanks. And, the actress who administered the "death kiss", Marcia Lane (Adrienne Ames) had been married to Brent.

Studio mystery writer Franklyn Drew (David Manners) takes it upon himself to investigate the case. He discovers where the shot came from and reports it to the cops. With the help of bumbling stdio guard "Gully" Gulliver (Vince Barnett) he continues his investigation.

Several suspects including Studio Boss Leon A. Goldsmith (Alexander Carr), Studio Manager Joseph Steiner (Lugosi), Director Tom Avery (Edward Van Sloan) as well as, Marcia Lane are investigated. Circumstances point to the guilt of Marcia and Drew, who has a romantic interest in her, works to find the real killer.

Needless to say, director Marin throws in several red herrings along the way. In the process he gives us an entertaining little (though low budget) mystery thriller.

As I mentioned earlier, Bela Lugosi is restricted to but a few scenes, most of which have him glaring at the other characters with those piercing stares. Manners and Ames make an attractive hero and heroine respectively. Its hard to believe but Lugosi, Manners and Van Sloan had appeared together a year earlier in Lugosi's signature film, "Dracula". Lugosi you would have thought, would have gone on to bigger and better things, however, he chose to appear in several low budget poverty row quickies in the years following his success in "Dracula".

Not bad for a poverty row thriller.

Despite its low-budget look, "The Death Kiss" is a solid mystery, and it does a good job of creating a believable movie studio atmosphere as the background to the main story. It's also interesting to see Bela Lugosi, Edward Van Sloan, and David Manners reunited in a setting so different from "Dracula". While some of its limitations are rather obvious, it's a pretty good effort for a low-budget feature from the early sound era.

The opening sequence might be the best part of the movie, as it cleverly sets up the mystery, introduces most of the characters, and illustrates the movie's themes. In the main part of the movie, it generally follows convention, with Manners as an eager amateur who is usually a step ahead of the police. The pace is also a little uneven at times, which was relatively common in the early 1930s, but there are always some interesting details and developments that keep it together.

Van Sloan, as a movie director, gets some pretty good opportunities. Lugosi is always a welcome addition to any suspense or mystery story, and he makes the most of a character who doesn't really get all that much to do. As the lead, Manners is likable, though often a bit bland. Adrienne Ames is adequate as the heroine, and the minor characters are given some occasional moments of their own.

The result is a decent mystery that keeps you guessing. It will probably be of interest mainly to those who are already fans of the era and genre, but with that in mind it's not bad.

So who fiddled with the props. Heart-throb actor Brent was only supposed to get shot with blanks. But now he lies on the sound stage floor, deader than the proverbial doornail.

As a whodunit, the movie's only moderately interesting. As a peek inside a filming crew, the movie's fascinating. But as a subtext of studio politics, the movie's a subtle insider glimpse.

To me, the film's highpoint comes when the studio head Grossmith stumbles for words for the press, only to be interrupted by his flowery pr man who dishes out the pr pablum in high-falutin' style. I'm wondering how much of that is aimed at the relatively uneducated likes of Louis B. Mayer at MGM or Jack Warner at Warner Bros. Then too, note how the real crime-solving sleuth is not an executive type, but a screenwriter (Manners) instead. Now how do you suppose that decision ended up in the script. Sometimes being a lowly screenwriter has its hidden perks.

Anyway, it's certainly different to catch Lugosi not making a meal out of somebody's neck. Still, I kept wanting to tell people not to stand too close. Then there' s the luscious Adrienne Ames (Marcia) who can go toe-to-toe with any Hollywood beauty of that day or this. Too bad she died so young. And, of course, there's Manners who started out as annoyingly smug when outsmarting the coppers. I'm glad he eased eventually into someone more likable.

All in all, the movie's worth catching up with for its insider look at movie-making, 1930's style.

I've got to admit my initial attraction to this movie was the fact that Bela Lugosi was in it...going in for that reason, this film will prove a disappointment as Bela's role is a relatively short one.

Despite this, I have to admit to enjoying this somewhat fanciful murder mystery which has the detective writer as the hero and ultimately a more competent detective than the real thing. This story about a murder on a movie set still feels more like a movie than real life..but the murder mystery does keep you guessing and interested which means it's certainly worth a watch.

Here's another important early detective movie. It is important because it is early in the life of talkies (just two years after, really); it is a mystery (which was just being invented cinematically); and it is "folded."

That last means that it is a movie. And it is about a movie. All the characters except the hapless police detective are part of the movie within, which is also called "The Death Kiss." That designated detective is our usual surrogate: in the outer film trying to suss out the inner.

The murder in question is a murder in the movie within that is "real," meaning it is also in the outer movie. The real detective turns out to be the writer of the inner movie. I am not sure if this is the first appearance of this particular device. I would appreciate hearing if it is not. If it is, this film is of enormous importance. If not, it is still important, though for enjoyment purposes, well its pretty far down the list.

I'm tentatively making this a "worth watching," but if I confirm that it is the first talking with a movie with written by the same guy that writes the outer movie, I'll elevate it to a four.

Ted's Evaluation -- 3 of 3: Worth watching.