Murder at Glen Athol

Murder at Glen Athol is a neat little mystery with a bit of comedy, a bit of romance, a bit of gangster picture thrown in—not much of any of those other elements, just enough to keep the viewer slightly off-balance. John Miljan is vacationing detective Bill Holt, a man who keeps his own balance, deftly managing a variety of suspects, the usual dumb cops, and a quickly-developing love affair with Jane Maxwell (played by Irene Ware), who is given brief consideration as a suspect but obviously works better as a love interest.

John Miljan is more familiar as the scheming crook he played in so many movies, but here at the center of this story he gets a chance to show some strong qualities as a lead, and some versatility in the range of his relationships with the other characters. His banter with James Burtis, the requisite housekeeper/assistant/right-hand man, is light but amusing enough. (Miljan's attempt to take a vacation and write his memoirs is interrupted in the film's opening scene by Burtis's insistent vacuuming around the desk Miljan is typing at.) His interactions with the various suspects are cool and cautious, as he isn't (and we aren't) sure just who might take a shot at him, stick a knife in him, or whack him on the side of the head. (Those things do seem to happen in this particular house he's visiting.) He shows deference to the police investigators, but doesn't throw away any valuable clues by turning them over, either.

Miljan's romance with Irene Ware is perhaps the oddest of these relationships. I'm not overly picky, and I know things have to move fast in a 64-minute movie, but this detective drops some lines that are awfully sappy for as serious-minded a character as he otherwise seems. Entering the gambling room at the house party, she declines to play, but he thinks he'll take a whirl at the roulette table anyway: "No matter what happens, it'll still be the luckiest night of my life." "Why do you say that?" she wonders. "Oh," he replies, "I just happened to meet a girl named Jane Maxwell." --Even Jane Maxwell finds this a bit much, and laughingly answers, "Well, come on, Mr. Detective, we'll see how lucky you are."

The mystery elements are done well; the picture moves along at a splendid clip. Well worth a viewing.

John Miljan who normally played smooth and oily villains plays a smooth and dapper detective of the William Powell school in Murder At Glen Athol. Although this film was done for a poverty row outfit called Invincible Pictures this was not a bad film and could have easily been a B film from one of the units at a major studio.

The dapper Miljan and his ex-pug house man James Burtis get invited next door to a swank society event sponsored by brother and sister Oscar Apfel and Betty Blythe. Among the guests is brassy Iris Adrian who before the evening is out has any number of people wanting to kill her. But later not only is Iris dead, but two other people as well including Blythe's son who made what could be and was taken for a confession.

Of course in true murder mystery tradition it's not all that simple. Miljan does a good job in sorting through the obvious suspects and in the end the puzzle is solved.

The sets are flimsy and threadbare, but the story is engrossing and the end was if not quite original taken from Agatha Christie's Murder On The Orient Express in terms of justice. Check this one out.

I almost gave up on this no-budget whodunit in the first 10 minutes. It was dull, flat, blandly staged and indifferently acted. Then Iris Adrian breezed into the room as a flirtatious gold digger who might as well have been wearing a neon sign saying "trouble."

Adrian's scenes were genuinely engaging, and if she'd had more screen time that alone could have made this movie worth watching. But she doesn't have that many scenes, and the dull script and convoluted, shapeless mystery had nothing else to recommend it.

By the way - this movie has two titles "Murder at Glen Athol" and "The Criminal Within" and neither makes much sense. No one ever talks about glen Athol and the criminal within doesn't make any sense in the context of the movie - they were clearly just trying to come up with a title that would intrigue people.

Anyway, in spite of Adrian's performance I can't recommend this movie.

Before this film gets down to its real purpose as a standard Poverty Row low-budget who-done-it, there are a few scenes superbly acted and stolen by the young Iris Adrian as a mad cap society girl. Iris went on and on for years playing bit parts as a blowzy wise-cracking loud mouth in another 160 films but this film demonstrates what a first-rate actress she was. She might have gone on to a more brilliant career had anyone recognized how gifted she was. Irene Ware, the leading lady here, is very beautiful and very wooden. Just another face, but Iris is something else.

Reuben Marshall plays a detective on vacation in a ritzy suburb writing about his exploits when invited to a party where death visits a couple of the guests. Marshall, his Irish sidekick in tow, discovers who the culprit is in this very interesting little mystery dealing with an above-average mystery plot. The story has several red herrings laced into it and is compelling for its age and era. The acting is nothing spectacular, but everyone concerned does a workmanlike job. There is also a generous dose of humour within the mystery. Some of the characterizations are very one-dimensional, yet, as a whole, the picture is generally well-crafted. I think it is odd that the film does not have a little more noteriety as it is a much better film than many mysteries of the same period.