Penguin Pool Murder

In the 1930s, RKO produced a series of mysteries concerning the detective activities of schoolteacher Hildegarde Withers. Viewing the first film, THE PENGUIN POOL MURDER, one can understand why the series immediately took off. The mystery itself is well constructed and engrossing. Director George Archainbaud's presentation of the murder victim's discovery is imaginative. In an aquarium, a boy discovers a penguin acting strangely, as if encountering an intruder. The penguin's behavior is immediately explained when a corpse suddenly plunges into the tank! The scenario, based on a Stuart Palmer novel, features some intriguing red herrings with plausible motives for the murder. By the time the killer is revealed, it is fairly obvious who the culprit is, but the mystery is resolved in a clever and credible manner.

THE PENGUIN POOL MURDER is especially worthwhile due to its spirited lead performances. As Withers, Edna May Oliver is drolly acerbic, tartly disdaining the police's ineffectual work as she proceeds to solve the case. As Police Inspector Oscar Piper, James Gleason blusters amusingly, determined to find the killer without Withers' help. Oliver and Gleason truly sparkle in their relationship. Initially, they're cagey of each other but an underlying mutual affection quickly develops. Piper and Withers continue to argue about the case throughout the picture but in an amiable manner that precludes the possibility of mutual ill will. Even if the mystery becomes too familiar to be suspenseful upon repeated viewings, THE PENGUIN POOL MURDER can still be savored due to Oliver and Gleason's marvelous chemistry.

PENGUIN POOL MURDER (RKO Radio, 1932), directed by George Archainbaud, the first (and best) of six film mystery series featuring Stuart Palmer's fictional character of Hildegarde Withers, a spinster schoolteacher, who matches wits with Oscar Piper, a New York City police inspector, is a rare find these days, considering how it predates Agatha Christie's better known female sleuth of Miss Marple. In retrospect, Hildegarde becomes a detective on her own only when the police cannot solve or deduct any clues she encounters, and yet, not being on a professional level when crime solving is concerned, proves that experience is not the issue, but the powers of deduction are.

The story opens with an air view of New York City's Battery Park where various characters are introduced: Gwen (Mae Clarke), a young woman married to Gerald Parker (Guy Usher), a middle-aged businessman, having secret rendezvous with her lover, Philip Seymour (Donald Cook) at an aquarium. Obviously, she wants a divorce but Parker won't grant her one. After receiving an anonymous telephone tip about his wife, Parker heads over to the aquarium where he catches Gwen and Phil together. At the same time, Hildegarde Withers (Edna May Oliver), a spinster schoolteacher, enters the scene with her students on a field trip. Aside from her encounter with a purse snatcher who happens to be the deaf and dumb Chicago Lew (Joe Hernando), a body of a dead man is discovered floating in one of the penguin pool tanks. The man in question happens to be Gerald Parker. Police Inspector Oscar Piper (James Gleason) is called into the case. He suspects Parker's wife to be the killer, however, her lover, Seymour, confesses to the crime and is arrested. Hildegarde, however, has her suspicions, and as she takes notes, comes to the conclusion that Seymour couldn't have possibly killed him. Regardless, Seymour is placed under arrest and put under suspicion. After learning that Parker was murdered with the use of her own hat pin found plunged into his right ear drum to the brain, Hildegarde decides to take matters into her own hands by becoming a crime solver herself, much to the dismay of Inspector Oscar Piper.

The success to the initial pairing of Edna May Oliver and James Gleason lead to several sequels, all featuring Gleason, two more starring Oliver, including MURDER ON THE BLACKBOARD (1934) and MURDER ON A HONEYMOON (1935), one with Helen Broderick in MURDER ON THE BRIDLE PATH (1936), and two featuring ZaSu Pitts in THE PLOT THICKENS (1936) and FORTY NAUGHTY GIRLS (1937). While Broderick physically was a satisfactory substitute for Oliver, though no where as good as Oliver, the series actually fell apart once it acquired Pitts services, which brought an end to what might have become a long running film series.

Supporting cast consists of Edgar Kennedy as Donovan; Robert Armstrong as Barry Costello, the attorney; Gustav Von Seyffertitz as Max Von Donnen, the lab expert; Clarence Wilson as the aquarium director; Sidney Miller as the typical know-it-all student; and Rochelle Hudson as the Switchboard Girl. Edgar Kennedy, famous for his "slow-burn" characterizations in numerous features and comedy shorts, is completely bald in this installment, mainly due to the fact that he was playing Daddy Warbucks in LITTLE ORPHAN ANNIE (1932) with Mitzi Green, about the same time he was working in PENGUIN POOL MURDER.

Never distributed to video or DVD, and at one time a late night show favorite on commercial TV channels, and formerly shown on cable television's American Movie Classics from the 1980s to 1998, at then on Turner Classic Movies where it had once been presented some years ago as part of viewer's request night.

In spite of its age, PENGUIN POOL MURDER surprisingly holds up well, thanks to the perfect casting of the horse-faced Edna May Oliver and New York sounding James Gleason in the leads, a well written and occasionally witty screenplay by Willis Goldbeck, and although viewers might guess whom the killer might be before it is all over, it's certainly fun to sit through this one to see through Hildegarde's power of deduction how she gets to trick the killer into reveal him or herself. While not in the same league as an Alfred Hitchcock movie suspensor or Agatha Christie mystery story, but themes such as this have been an inspiration for many mystery writers, film directors or TV writers in later years, for that mysteries such as this continue to delight audiences even today. (**1/2)

James Gleason is always a treat to watch, but the real star is Edna May Oliver. Not only the role of life time for Ms. Oliver but what a duo they make. This is wonderfully written repartee as well as being a strong whodunit.

The 1930's produced many mysteries [ The 39 Steps, The Lady Vanishes] of which a few would be counted with the best ever made; though the former is not one of the best, it is a joy to watch and listen to. From start to finish this film crackles with wit and is filled with visual tics and quirks that lead us to the conclusion that these are two souls that we will not soon want to forget.

Helen Broderick tried unsuccessfully to fill Ms. Oliver's shoes in the fourth and final installment of the Withers' series "Murder on a Bridle Path" but there was no chemistry between Gleason and Broderick as well as the fact, that it was not a well written entry. It just goes to show, that Edna May and Gleason shone as a crime fighting duet and as unlikely romantic leads.

I saw this movie at the Stanford Theater, a restored small-town movie palace of 1925. The Stanford only shows old classics, and often some films show up on the bill that sound completely unfamiliar, but sound like they might be worth a look.

Penguin Pool Murder is just such a film. When I reat a little bit about it, it didn't sound too interesting, but since I like the pre-code period so much, and I'd never seen an Edna Mae Oliver film before (other than a tiny snippet from Saturday Night Kid) I decided that I might as well go and see it.

PPM is a fast-paced and hilarious murder mystery, still as gleefully enjoyable as it was upon it's first release. The lead character, school marm Hildegarde Withers, is brilliantly portrayed by snappy, vivacious and proper Edna Mae Oliver. I'm sure some people might get annoyed by her high-toned and imperious British accent, but I loved it. It lent buoyancy to her already top-notch dialogue.

Despite it's status as a B-production (as opposed to a more prestigious "A" movie with more stars, more crowd scenes and an all-around bigger budget), PPM is a movie that reflect's Hollywood's unending attention to detail, high visual standards and emphasis on glamour whenever possible. Take for instance one of the first scenes: Mae Clarke in her posh boudoir, dressed in a shimmering evening gown, making a telephone call and getting accosted by her husband. Later, when she visits the aquarium, she's swathed in an enormous fur collar and the chiquest of clothes. Imagine how many depression-weary families went to see this, and the mother imagined herself with Clarke's clothes and figure. Dad could fancy himself her husband, and the kiddies would be entertained by the character's antics. This is, if any thing, a family in the best sense of the word.

Edger Kennedy has a small role in this, as the token blundering Irish cop. When I was a kid, I saw him perform his routines in the Our Gang shorts When the Wind Blows and The First Seven Years, and again as the antagonized street vendor in Duck Soup. Recently, I've come to dislike his "slow burn" technique, but I'm starting to like it again. It's an acquired taste, that's for sure. Here, Kennedy the cop has a shaved head, which I thought was a bit unusual.

I hope this movie comes out on video and DVD so I can own it for myself. To my limited knowledge, it's still relegated to the vaults, with the likes of so many great movies. Some day, people will begin to hear more about Edna Mae Oliver and want to see her films. Penguin Pool Murder will surface and be enjoyed by a whole new legion of fans. That day will be a good day indeed.

... are the two lessons that this great little precode teaches us. The first lesson I think modern audiences know well, but the second we forget frequently, especially when it comes to romance.

The story is not a remarkable one. Socialite Gwen Parker (Mae Clarke) is unhappily married to stockbroker Gerald Parker (Guy Usher), and she has a lover. Both her lover and her stockbroker husband are broke. Only the stockbroker's life insurance remains as an asset. As the film opens, we also see that the curator of a local aquarium is angry with Gerald Parker because he thinks he ruined him and swindled him as well. We then see Gwen talking to her lover on the phone, but we never actually see who he is. Gwen has an altercation with her rightfully jealous husband that ends with him striking her. She then decides to leave him.

Later that day Gwen meets Philip Seymour (Donald Cook) at the local aquarium. Gwen's husband suddenly appears and accuses Philip and Gwen of being lovers. A scuffle between the two men breaks out and Philip knocks Gerald Parker unconscious and tells Gwen to wait for him downstairs in the aquarium. Philip then takes Gerald upstairs and the last thing we see of that scene are Philip's hands moving toward the unconscious man's throat. A few minutes later Gerald's dead body falls from above into the aquarium's penguin pool.Seems pretty cut and dried doesn't it? Well it isn't at all.

Add to all of this schoolteacher Hildegarde Withers (Edna Mae Oliver) is in the aquarium at the time of the murder with her students conducting a tour of the exhibits, and that she has quite the penchant for solving mysteries as well as agitating the detective on the case, Oscar Piper (James Gleason), and you have a great little precode mystery here.

What really makes this film stand out is the chemistry of the leads, Gleason and Oliver. Here are two middle-aged people, of middling income and less than middling looks in the conventional sense, yet I'll watch this film repeatedly just to see the two interact. You can see a respect and even attraction grow between these people despite the caustic remarks that they trade. Then there are those great precode one-liners from Oliver, not the kind of stuff you'd expect from a prim and proper spinster such as Hildegarde.

Highly recommended as an excellent start to a good series of mystery films starring Oliver and Gleason.