Tomorrow at Seven

A killer known as the Black Ace is on the loose. The Ace leaves a calling card with the time of his victims death on it. The Ace has killed several prominent people and a rich friend of some of the victims, Winters, is looking to put a stop to it. Chester Morris plays a mystery writer putting together a book on the killer. He meets the daughter of Winters on a train on his way to offer what he knows in the hunt for the killer. Not long after that Winters receives a death threat and while in the middle of an air plane flight the flights flicker for a moment and he is killed.

This is an okay film that is ruined by two bumbling cops Dugan and Clancy who push a witty and clever mystery into the realm of silly. Normally I like the work of Frank McHugh and Allen Jenkins but here they just come off as being bumbling fools. Its awful, or rather not funny. They take the desire to know more out of the mystery and the laughs out of the comedy. There is no real reason for them to exist except to kill time.If you can divorce them from the rest of the movie this is a good little mystery, something not easy to do.

Worth seeing if you run across it. Not sure its a rental but on late night TV its worth trying.

SLIGHT SPOILERS AHEAD. 'Tomorrow at Seven' is one of those wildly implausible movies from Hollywood's studio era which still manage to be hugely enjoyable on the strength of sheer audacity and some colourful performances. Here we have that old chestnut: the serial murderer who announces his crimes in advance, in a highly theatrical manner, yet repeatedly kills his victims without getting caught. We also have that even mouldier chestnut: the amateur sleuth who is able to outwit the cops and nab the baddie.

In this case, the murderer proclaims his intentions in advance by delivering to each victim an ace of spades (the death card), with a neatly-written message announcing the hour at which he intends to do the deed. Naturally, he consistently manages to kill his victims (and get away clean, his identity a secret) even though they've been well and fairly warned. As the killer neglects to leave his name in the guest-book, he is cried the Ace of Spades.

He murders wealthy art dealer Asa Marsden, and here we get another old-movie cliché: the murder shown from the killer's viewpoint. We see the victim goggling into the camera as the killer carks him, but the murderer is unseen.

Next, the Ace of Spades announces his intention to murder wealthy Thornton Drake 'tomorrow at seven'. (Presumably this is P.M., not A.M. ... surely even serial murderers shouldn't have to get up early.) At the fatal hour, the deed is done aboard an aeroplane in flight. At the stroke of seven, the lights go out in the passenger cabin ... then they switch on again, and there's a corpse on the deckplates, stabbed through the heart. But the dead man isn't Drake: it's his secretary Austin Winters. Afterwards, the pilot claims to know nothing.

The official detectives in this movie are played by two of my favourite character actors: Frank McHugh and the superb Allen Jenkins. Here they play characters named Clancy and Dugan, which gives you some idea of what to expect. Unfortunately, both actors perform their sleuth roles as comedy relief, which I found regrettable: the murders in this movie are played straight, so the seriousness of the homicides is undercut by the intentional comedy of the detectives trying to catch the killer. Screenwriter Ralph Spence often combined straightforward chills and broad comedy in his scripts -- notably in his play 'The Gorilla' -- but here the mixture isn't as smooth as usual.

The hero of this film is played by Chester Morris, so it's obvious who will solve the crime. For some reason, a lot of Hollywood whodunnits of the 1930s and '40s featured *amateur* detectives. Here, Morris plays a mystery novelist (oh, boy) who is researching the criminal career of the Ace of Spades as material for his next book. Morris decides that it might make a nice finish for his book if he actually catches the murderer.

Along with this film's other merits, there's the Batman factor. It's well known that Batman's greatest villain the Joker (created in 1939) was inspired by the character played by Conrad Veidt in 'The Man Who Laughs'. But the premise of 'Tomorrow at Seven' strongly resembles the premise of the Joker's debut story, and this 1933 movie may have supplied some inspiration to Batman's scriptwriter Bill Finger.

'Tomorrow at Seven' has a lot of the little touches that make 1930s B-movies so enjoyable. Unfortunately, this movie also has a couple of the little touches so typical of that time which are very much *less* enjoyable. Here, we get a mercifully brief turn by African-American actor Gus Robinson in a 'yassuh!' role. I don't blame Robinson, whose options as a black actor in 1930s Hollywood must have been limited. I'll rate this otherwise enjoyable movie 7 out of 10.

The Black Ace warns his victims ahead when the time will come for them to die. Such is the basic premise of Tomorrow at Seven directed by Ray Enright and scripted by Ralph Spence. Interwoven into this basic premise is a young Chester Morris going to a Mr. Thorton Drake because he knows all there is to be known about the Black Ace. Morris is writing a book, meets a cute secretary that can introduce him, and all the main characters from that point on - including two cops included for protection - board a small plane to go to a huge mansion in Louisiana. All this to escape the ominous note saying Mr. Drake, played indelibly by Henry Stephenson, would die "tomorrow at seven." The old Southern home is reminiscent of the home used in the 1939 version of The Cat and the Canary(also taking place in Loiusiana). This film works because it has a pretty tight and inventive script, some good direction, and good acting. The mystery is not too terribly easy to solve - and though I figured it out - I could never be 100% sure!

The residents of a dark mansion are threatened by a mysterious murderer who uses cards to tell his future victims the exact time of their death.

One intended victim decides he will get on an airplane to try to outwit the murderer , but at the appointed time the lights in the plane go out - death calls again

Tomorrow at seven is another one of those mysteries featuring a couple of annoying inept police officers, while Chester Morris works things out in regard who the black ace murderer is - a fast-paced and nicely plotted mystery, however as much as the inept police men provides some funny moments they can be a bit too much at times.

I have to agree with the reviewers who think the bumbling cops spoil an otherwise good murder mystery romp. What was the director thinking? However, there is one director's moment that shines, if you're paying attention, hilariously. This movie should have had more moments like this and a lot less of the cops doing one schtick over and over and... It is when the mute housekeeper, played in a wonderfully creepy manner by Virginia Howell, uses sign language to talk to Vivienne Osborne. Osborne's character says, "I don't understand." And Howell signs again only much more slowly.