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A really good cast, consisting of George Sanders, Gail Patrick, Richard Denning, and Sidney Blackmer stumble through "Quiet, Please: Murder," a 1942 film produced by 20th Century Fox.

I unfortunately saw a very poor print of this with fuzzy sound, which naturally hampered my enjoyment. The plot concerns a rare book scam, headed by Jim Fleg (Sanders) and Myra Blandy (Patrick). Fleg steals a rare book from the library, makes copies, sells them as stolen goods, and Blandy verifies the book's authenticity. When Myra insists on selling a fake book to a Nazi, against Fleg's orders, trouble ensues. A detective, Hal McByrne (Richard Denning) becomes involved and falls for Myra, who is playing him against Fleg.

Most of Fleg's dialogue is psychobabble, as he analyzes Myra and himself as people who like pain and desire punishment, etc. The story is convoluted, with Fleg, posing as a police officer, coming to the library to investigate a murder. He takes the opportunity to steal rare books, saying they need to be under police protection. The books are then stolen by Hal and consequently stolen by Myra.

It all gets pretty confusing, and if you could have seen the characters throwing around these supposedly fragile, valuable books without wearing gloves or taking any kind of care, it's too much. It's always great to see Sanders and Patrick (who, as Gail Patrick Jackson, wound up as producer of the Perry Mason TV series) - he makes a great villain and she's a wonderful femme fatale.

All in all, disjointed and disappointing.

Master forger of rare books (Sanders) gets mixed up with Nazis (Blackmer), a detective (Denning) and a double-crossing dame (Patrick).

The convoluted script may take a Rosetta Stone to solve, still it's a slickly done TCF programmer. Those two smoothies Sanders and Patrick are well cast as a couple of A-team masochists, engaged in a game of one-upmanship and about as trustworthy as rattlesnakes. In fact, Patrick's character qualifies for the Devious Dame Hall of Fame, with her warm personality and stone cold heart. Still, I'm a bit surprised that some of that pain-loving dialog Sanders relishes made it past the censors. Usually old Hollywood just hinted at such things instead of belaboring them.

Denning and Roberts are clearly America's team, though Denning may wobble at times. One thing for sure—set design and art direction come cheap since most of the action takes place in a single setting, a library. Still, director Larkin keeps things moving. And get a load of baldy Kurt Katch's mute Nazi. He's about as inviting as the polar ice cap and just as chilling. But, I'm still wondering which thug belongs to which gang, which does get confusing.

Oh well, things do sort out, I think. Then too, it's 1942 and the war is still in doubt. Byron Foulger's officious little air warden may be on the silly side, but the blackouts weren't. These old movies do show us things the history books can't. Anyhow, the movie may be nothing to write home about. But it's still impressive how Hollywood could turn out such slick little programmers in the middle of a big war.

Worth watching for George Sanders dialogue alone. Obviously a B movie with a very limited budget but its a lot of fun to watch. If you're a George Sanders fan like me you wont be dissapointed!

George Sanders ("Fleg) is up to no good in this light-hearted tale of theft and forgery. He has pinched an original Shakespeare folio and has been subsequently flogging copies. Unfortunately for him, his selling agent "Myra" (Gail Patrick) is none too bright and when she inadvertently sells one of his copies to a Nazi - their very lives are soon in peril, and it might actually be policeman "McByrne" (Richard Denning) who comes to their rescue! The acting is good, the writing quite pithy and it packs quite a lot into 70 minutes. Maybe the production is a touch basic; the settings are all a bit too static, but unlike so many of these cheap and cheerful B features, this one has a decent story that is actually quite enjoyable to watch.

Another reviewer suggested a better, more realistic ending (but one that would've been acceptable in 1942, when good had to triumph over evil at the movies). So I can see how some might prefer a more postmodern version.

But I think the clichés of this film are good campy fun. It's been a very long time since I found a movie this good that I've never seen before. So I see it as a superb relic to be treasured.

It's a charming film noir crime caper, stagy and clumsy at times, but with a very smooth George Sanders as the rather mild villain, and surprisingly smart banter throughout. It has a good formulaic story that doggedly ties up all loose ends into a neat package. It moves very quickly for its age, and is pretty easy to follow, despite the plot being somewhat complex.

I'm very excited to have stumbled across it.