La ciudad en tinieblas

By his fourth film in the series, Sidney Toler had settled into the Charlie Chan role quite nicely. In many ways, this is a fascinating film to watch because of its historical value--as it talks about the events leading up to WWII as well as the assumption that the Munich Agreement would avert war. As a history teacher, this is great stuff--a real insight into Europe on the eve of war.

However, despite the interesting backdrop of Paris as it prepares for war, the film ultimately is destroyed by one man--Harold Huber. This was Huber's third Chan film--having played a French inspector in Monte Carlo as well as a New York inspector. The problem in this film wasn't his accent (here and in the previous film, Huber was fine with his fake French accent), but how incredibly obnoxious and stupid his character was. This film did not feature a Chan child but most of the blundering was done by Huber. This might have worked had they not made Huber five times stupider than any of the Chan children. Plus, Huber came on so strong and was so dominant in the film that you really wanted him to die, as he completely over-shadowed Toler. Because of this, this might just be the worst Chan film that Fox Studios made. Watchable but annoying.

Maybe it was the play that forms the basis of this tale, maybe the return to previous screenwriters, or a new director, or whatever…but this is one of the weakest Sidney Toler Chan films done at 20th Century Fox. Not much of a mystery – more a propaganda film about the coming war and the need to beware of traitors who would sell and ship arms to the enemy and who need clearance papers that disguise munitions as fruit.

One of the few films without one of his offspring (he admits to having 5 sons here). Chan plays instead off Marcel, secretary and godson to the Paris Chief of Police. Audiences were probably being conditioned to regard the French as future allies; hence Marcel explains that he is really the son of the Bucharest Chief of Police – thus maligning Romania instead. Harold Huber has done a much more subtle and effective job at comedy in the Chan series. Pedro de Cordoba does splendidly as a dignified gentleman's gentleman Antoine and WWI veteran who sees his son off to the next conflict. AMC gives second billing in this film to Lon Chaney, Jr., but in reality his is a bit part preceding his more memorable appearance in `Of Mice and Men' the same year. He must have needed the work.

There are enough clues, misdirections, and suspects to keep the outcome up in the air but we are not made to really care. The murdered man deserved to be murdered and who did it matters little. There are sufficient clues for an observant viewer to arrive at the solution along with Chan.

Not one of the better or even good Chan films. See this only to round out the series. As Chan said in this film: `To describe bitter medicine will not improve its flavor.'

In my opinion, this has to be one of the worst Sidney Toler's Charlie Chan's. I say this for two reasons. This first is Charlie seemed to be a minor character in this movie. Somehow, the movie was taken over by Harold Huber's loud and chaotic character, Marcel. Somehow, someone, I suppose the director, Herbert I. Leeds, let him run wild spouting a lot of nonsense in a loud voice. Maybe the first "I see it all now!" was funny, but it was definitely overplayed. This movie could have been so much better if they had just allowed Paris to co-star with Charlie.

The "City in Darkness" is Paris, where Charlie Chan and a group of colleagues from the last Great War are gathered for a reunion on the eve of the next one. As the picture opens, a newsreel-style sequence presents a fascinating and frightening summary of European events of 1938—as they appeared from the vantage point of early 1939.

In this setting, with war imminent and preparations mounting, the nighttime blackout in effect occasionally helps the story along—such as the scene in which Mr. Chan, captured and tied up in a shop's back room, manages to surreptitiously switch on an outside light, knowing the police will come and pound on the shop door and thus rescue him.

The plot itself concerns the murder of a shady character named Petroff—and the usual number of suspects who may have had reasons (personal or political) for doing away with him. There's a shop owner (Leo G. Carroll) who makes and sells fake passports on the side; a young couple (Richard Clarke and Lynn Bari) trying to catch the last boat for America for six days; a "business associate" (Noel Madison) of Petroff's who slides in and out of the picture; and butler and patriot Antoine (Pedro de Cordoba).

C. Henry Gordon is a natural as the prefect of police, the old friend Chan has come to visit. Sidney Toler is solid if rather subdued as Mr. Chan. Instead of assistance from number two son, however, this time around Chan has to deal with…

Harold Huber as a bumbling inspector who hopes to solve this case to impress the prefect. His accent is thick, his gestures are exaggerated, and whenever he is on screen he interrupts loudly, whoever else may be speaking. It's a comic role—but, for my taste at least, it's a bit too much. I'm all for broad humor but in this case it only partially works and it distracts from an otherwise rather serious movie.

It's certainly an interesting setting…but overall I'm not sure they didn't concentrate too much on the picture's timeliness and neglect to polish the dialog and plot.

With war in Europe looming large, "Charlie" (Sidney Toler) is in Paris to celebrate with some of his colleagues from the previous conflagration when he finds himself embroiled in the mysterious killing of "Petroff" (Douglass Dumbrille). There are few clues, but those that there are seem to centre around the young "Marie" (Lynn Bari) who is constantly having to beg, borrow or maybe even steal money to pay for an all-important passenger to travel to Panama and thence onto the safety of the USA. The deeper he delves, though, the more suspicious the activities of the deceased man start to look, and together with local policeman "Antoine" (Pedro de Cordoba) they roll their sleeves up. I quite enjoyed this, especially the effort from de Cordoba as a French policeman who might make "Insp. Clouseau" look efficient. He also gels well with the meticulous Toler who isn't accompanied by any of his brood for this adventure. There are loads of red herrings and at the end the tiniest bit of prophesying as the dark clouds really were gathering in 1939. The production is all a bit stage bound and basic, but that doesn't really spoil the enjoyment and if you like Toler and his forensic approach to sleuthing coupled with his Confucian profundities, then it's an amiably paced watch.