Le mystère du rapide

Silly mystery that almost compensates with a white-knuckle finale. Ruggles plays an addled "deflector" who can't seem to get his sayings right—"The early worm gets the bird"! All in all, he's an imaginative twist on the usual sleuth in that he bumbles his way before getting moments of brilliance. Sort of like a mix of Sherlock Holmes and Inspector Clouseau. Too bad his shtick is not funnier. At the same time, the incoherent mystery part is submerged beneath Ruggles and two loud blondes Merkel and Carlisle who keep the decibel level peaking. They're cute, of course, and understandably get most of the screen time. Overall, I'm not sure what MGM was reaching for, but the parts don't blend that well. Still, the bang-up finale is worth the price, with scares galore and no models for the runaway trains. I'm not sure how they did it with real locomotives and passenger cars, but it comes as a stunning surprise after 50-or-so minutes of blah. Anyway, much of the cast—Ruggles, Merkel--thankfully went on to better material. Meanwhile, no more trains for me, I'll be taking air travel from now on, for sure.

Wonderful train sequence at end

"This train has got the disappearing railroad blues"

This is the sort of B thriller that made movie-going fun back in the thirties. Mary Carlisle is a hard-working telephone operator at a stock brokerage who suddenly discovers that she's the long-lost daughter of a railroad tycoon. With best pal Una Merkel in tow, she's tricked into boarding a private railway car en route to a reunion with her father. But neither the car nor her fellow passengers are what they appear to be.

Some of it is sorta' silly. There's a circus train wreck thrown in for padding. And Charlie Ruggles' as a "deflective" detective has a few too many goofy bromides. But the climactic chase sequence, as a runaway car roars down miles of twisting mountain track, is superbly directed, shot and edited. And that was back in the days before CGI when you had to film the real thing.

While "Murder in the Private Car" isn't in the same league as "The Narrow Margin" (the gold standard among railroad mysteries,) it's well worth a look. Especially for train buffs. And in just a bit over an hour, it moves along like...well...like a speeding train.

In his career during the 30s Charlie Ruggles was a master of silly and non-sequitar comedy. No one could mix a metaphor quite like Ruggles as he proves in Murder In A Private Car.

The film concerns two switchboard operators and best friends Una Merkel and Mary Carlisle. Just one day private detective Porter Hall contacts Carlisle and tells her she is the missing heiress to a fortune and millionaire Berton Churchill's daughter. As a toddler Carlisle was kidnapped and placed in an orphanage by nefarious forces unknown.

Those same nefarious forces are determined to see she doesn't get to be reunited with dad. Let's say there's a lot of money at stake.

So begins an eventful trip with a few deaths, an escaped gorilla, and romance developing between another private detective Ruggles and Merkel. Ruggles is kind of shoehorned into the plot. He's not a detective, Ruggles calls himself a deflector one who prevents crime rather than solve it. That was in fact the premise of the TV series Checkmate back in the day.

Even with 'murder' in the title, Murder In The Private Car is still an amusing little item. Listen carefully to Ruggles, you may have to watch this film one or two times to catch all the bon mots he utters.

They and he are worth catching.

Seldom will the words "what were they thinking?!" come to mind while enjoying a film as often as while watching this pseudo-mystery from the early days of sound at MGM - though not as early as the haphazard writing would suggest.

Enjoy it you will, however, as the odds and ends the entertainment are assembled from are largely quality remainders, borrowed from all kinds of other films than the mystery the title leads one to expect.

Who knows what the original mystery play ("The Rear Car") the film is based on was really like? It lacked sufficient merit to make it to Broadway (neither did "Everybody Comes To Rick's," but that didn't seem to hurt CASABLANCA much), but the stagy "thriller" aspects of the center part of the film suggest that the tossed in ingredients didn't hurt it any.

Chief among the "tossed in" ingredients is Charlie Ruggles' Godfrey Scott, a supposed "detective" occupied far more with the kind of bumbling burlesque comedy Ruggles had been perfecting since his movie debut back in 1914 (and would continue to mine right up until his death in 1970). By the 1930's Ruggles was a well recognized Hollywood commodity in such hits as Brandon Thomas' CHARLEY'S AUNT, THE SMILING LIEUTENANT, LOVE ME TONIGHT and ALICE IN WONDERLAND. MURDER IN THE PRIVATE CAR must have seemed a decidedly second tier assignment to the comedian, but he gave it his all . . . though the biggest laugh in the script may come in the credits - "Edgar Allan Woolf," one of the co-writers was clearly named after Edgar Allan POE, the founder of the modern mystery format with his "C. Auguste Dupin stories in the 1840's! So much for legitimate mystery credentials in this film.

The silly plot (a lost heiress found and at risk) had already been the subject of too many musicals and farces to be taken entirely seriously, and the film makers don't spend to much time seriously laying out the clues and red herrings even though the golden age of the murder mystery was near its peak. Instead, they pull out the stops with cinema-friendly special effects like runaway trains and (never explained) secret panels.

It starts and remains a supremely silly hodge podge, but fun nonetheless for all but the serious mystery fan the title seems to want to attract. Watch for Ruggles and Una Merkle, and don't worry so much about the title murder(s) and a good time is to be had.