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I understand this was the famous Todd Browning's final film; well, he certainly picked a good one to go out on. MIRACLES FOR SALE is a murder mystery with a twist: all the suspects are either magicians or oculists. This naturally makes for a very spooky and atmospheric thriller, which is well handled by Browning and the cast. Robert Young is perfect as the glib magician hero, Florence Rice is appealing as the frightened heroine, and Frank Craven and Cliff Clark supply some hilarious dialogue. Unlike many murder mysteries of this vintage, though, MIRACLES doesn't fall into unsuspenseful slapstick by trying to ape the Thin Man films--it gets positively creepy in parts. Also refreshing is the fact that Young's character doesn't deny the existence of the supernatural: he just thinks that the murder in this case is the work of humans. As you would expect in a magician murder mystery, there are several tricks and illusions in the plot, one of which took me in completely. My brother, an amateur magician of sorts, also passed this one on the accuracy of its depiction of the magic profession. Check it out; you won't be disappointed.

This movie sounds like so much fun: Robert Young as a magician! Who would have thought it would turn out to be really spooky? If you're a lightweight, you can try watching this one on Halloween; it might be just scary enough so you don't have to go to sleep with the lights on.

Robert Young stars as a former magician who now sells "miracles" to other magicians for their acts. His clients include Henry Hull, Gloria Holden, Lee Bowman, and Astrid Allwyn. When a troubled young girl, Florence Rice, comes to him and asks if he'll help prove her sister isn't as psychic as she thinks, he's only too happy to oblige. But they both get sucked into a big mystery with drastic consequences...

This movie's really fun, and while it's not as grand-scale as the epics that came out of 1939, if you're a Robert Young fan and want to see a spooky, magical movie, this is a great one to pick.

The Thirties were racing towards their close, accompanied by a curious speeded-up style of film dialogue, as though the writers were being paid by the word. These flat, metallic exchanges are suitable enough for wisecracks, but they kill any sincerity in lines that are meant to carry emotional depth. So for example, the film opens on Robert Young (later to be your favourite TV doctor Marcus Welby) putting the case for exposing fake mediums in order to protect genuine seekers after psychic truth. He sounds like more like an auctioneer at a meat-market.

This was the last film to be directed by Tod Browning, who exploits his own early experience in the circus by replicating all manner of smoke-and-mirror spectaculars that can hold the attention of audiences who may have been left somewhat behind by the intricacies of the plot. But a conference of magicians is always going to make a good start to a murder story.

It was Browning who had also directed the first Dracula talkie, and he brings in touches of it here, notably in the casting of Gloria Holden, previously of Dracula's Daughter, whose disdainful manner was believed to reflect her genuine boredom at appearing in movies she felt were beneath her. But her disdain manages to suggest mystery, and we are kept wondering whether this glamorous medium will be unmasked before the end. Glamour of a more conventional kind is provided by Florence Rice as the vulnerable blonde at the mercy of sinister dark forces. They say there were also some dark forces in the studio, claiming that it was only her well-connected father who got her the roles, apparently blighting her career.

One joke that certainly wouldn't be allowed today - a haunted skull moving its jaw up and down ("Obviously a woman!"). And a good disciplined performance by a fortyish William Demarest as the regulation sceptical cop.

Clever variation on the amateur sleuth movies so popular at the time. Morgan (Young) is an expert magician who devises tricks for other illusionists, and also arbitrates between greedy tricksters and genuine psychics. In fact, the script goes to some lengths to allow for real psychic experiences, probably so as not to offend believers. Anyway a dislikable trickster is murdered under mysterious circumstances, while fetching ingénue, Judy Barclay's (Rice) life is threatened. But why, and by whom. Now Morgan has to play amateur detective and unravel the various strange happenings.

MGM produced, so no production corners are cut. This shows up in several fairly elaborate sets. The magician theme cries out for noirish touches that are occasionally present, but not enough to create real atmosphere. Nonetheless, there are enough spooky twists to keep up a good level of moody suspense. The plot's pretty involved, as might be expected with all the tricks going on. So you may need the proverbial scorecard. Still, a couple scenes are really jarring, especially the splayed bodies inside diabolical designs.

In the lead, Young is super-smooth and likable, while spook girl Holden (Madame Rapport) gets to look other-worldly. There's some humor, but thankfully it's not clownish as was common for these amateur sleuth films. Anyway, the 70-minutes amounts to an imaginative little B-entry for a studio that did not specialize in them.

Creative, underrated detective picture from MGM. The final film from Dracula director Tod Browning. The story has an illusionist taking on fake spiritualists and investigating murder. Robert Young heads a solid cast with particularly fine support from Frank Craven, William Demarest, and Henry Hull. It's a B movie but given that it has MGM's excellent production values you'd never know it wasn't an A. It also has one of the most exciting openings to any movie from this period. Bonus points for the cool secret room Young's character has.