The Death Kiss

Not bad little cheapie, an early talkie about a murder in a movie studio. Enough clues to go on, some good red herrings, and only a couple of holes in the plot. Of course, to film buffs, Lugosi is the main attraction, but his part is small and his accent distracts. Interesting peeks at working movie company in the 30s.

"The Death Kiss" (1933) should be a nice surprise for those who like traditional murder mysteries. It's a movie within a movie and both have the same title, which refers to the on- screen murder of movie star Myles Brent during the filming of the last scene of a film called the "The Death Kiss". He is shot while playing a scene in which he is shot, a development that was about to be written off by the police as a prop man's accident until they discovered that the bullet was a different caliber than the guns being used in the production.

The police then turn their attentions to his co-star and ex-wife Marsha Lane (Andienne Ames) which inspires her boyfriend (David Manners) to do some amateur sleuthing to track down the real murderer.

"The Death Kiss" could qualify as the first buddy picture as he is closely assisted by his friend Officer 'Gully' Gulliver (Vince Barnett), a bumbling studio security guard who provides the film's comic relief. The mix of serious murder mystery and comedy is in perfect proportion and Barnett gives a truly exceptional performance. Much of the humor comes from the pair's ability to stay just ahead of the police, much to the irritation of the detectives doing the investigation and to the crowing delight of Gully.

There are an array of suspects (Brent would not have won a popularity contest) besides Miss Lane including studio executives Joseph Steiner (Bela Lugosi), Leon Grossman (Alexander Carr) and Tom Avery (Edward Van Sloan). Lugosi's name and likeness headline the DVD package and while his part is substantial, it is still just that of a supporting character.

There are enough red herrings to keep the viewer guessing and the pacing is quite fast even with limited action sequences. There are significant advantages associated with setting a screenplay in a movie studio. The cost savings in set design, the appeal of the movie industry to viewers, and the fact that the writer can draw upon occupations with which he is familiar to give the script convincing authenticity.

One thing to watch for is the use of color in a few sequences in this otherwise black and white film. When there is a fire in the projection booth and later a chase scene with flashlights, the producers enhanced the effect with an amber tint. This was applied to the prints (at least some of them) by stencils, which masked the majority of the frame so artists could color in the portion that was to be amber. Since there are 24 frames per second it was only necessary to apply this process to every other or every third frame to get the effect, but it was still an extremely labor-intensive process. "The Death Kiss" was not the first time this was done but it was the most effective because the cinematography made excellent use of light and shadow, with the contrast nicely enhancing the effect of the amber frames. Technically this gimmick was a forerunner of stuff like "Smell-o-vision", "Emergo", "Illusion- o", and "Sensurround".

The DVD and TMC prints are serviceable but obviously worse for the wear. There are a number of audio and video dropouts but the story seems to be complete.

Then again, what do I know? I'm only a child.

Here's another important early detective movie. It is important because it is early in the life of talkies (just two years after, really); it is a mystery (which was just being invented cinematically); and it is "folded."

That last means that it is a movie. And it is about a movie. All the characters except the hapless police detective are part of the movie within, which is also called "The Death Kiss." That designated detective is our usual surrogate: in the outer film trying to suss out the inner.

The murder in question is a murder in the movie within that is "real," meaning it is also in the outer movie. The real detective turns out to be the writer of the inner movie. I am not sure if this is the first appearance of this particular device. I would appreciate hearing if it is not. If it is, this film is of enormous importance. If not, it is still important, though for enjoyment purposes, well its pretty far down the list.

I'm tentatively making this a "worth watching," but if I confirm that it is the first talking with a movie with written by the same guy that writes the outer movie, I'll elevate it to a four.

Ted's Evaluation -- 3 of 3: Worth watching.

So who fiddled with the props. Heart-throb actor Brent was only supposed to get shot with blanks. But now he lies on the sound stage floor, deader than the proverbial doornail.

As a whodunit, the movie's only moderately interesting. As a peek inside a filming crew, the movie's fascinating. But as a subtext of studio politics, the movie's a subtle insider glimpse.

To me, the film's highpoint comes when the studio head Grossmith stumbles for words for the press, only to be interrupted by his flowery pr man who dishes out the pr pablum in high-falutin' style. I'm wondering how much of that is aimed at the relatively uneducated likes of Louis B. Mayer at MGM or Jack Warner at Warner Bros. Then too, note how the real crime-solving sleuth is not an executive type, but a screenwriter (Manners) instead. Now how do you suppose that decision ended up in the script. Sometimes being a lowly screenwriter has its hidden perks.

Anyway, it's certainly different to catch Lugosi not making a meal out of somebody's neck. Still, I kept wanting to tell people not to stand too close. Then there' s the luscious Adrienne Ames (Marcia) who can go toe-to-toe with any Hollywood beauty of that day or this. Too bad she died so young. And, of course, there's Manners who started out as annoyingly smug when outsmarting the coppers. I'm glad he eased eventually into someone more likable.

All in all, the movie's worth catching up with for its insider look at movie-making, 1930's style.

Despite its low-budget look, "The Death Kiss" is a solid mystery, and it does a good job of creating a believable movie studio atmosphere as the background to the main story. It's also interesting to see Bela Lugosi, Edward Van Sloan, and David Manners reunited in a setting so different from "Dracula". While some of its limitations are rather obvious, it's a pretty good effort for a low-budget feature from the early sound era.

The opening sequence might be the best part of the movie, as it cleverly sets up the mystery, introduces most of the characters, and illustrates the movie's themes. In the main part of the movie, it generally follows convention, with Manners as an eager amateur who is usually a step ahead of the police. The pace is also a little uneven at times, which was relatively common in the early 1930s, but there are always some interesting details and developments that keep it together.

Van Sloan, as a movie director, gets some pretty good opportunities. Lugosi is always a welcome addition to any suspense or mystery story, and he makes the most of a character who doesn't really get all that much to do. As the lead, Manners is likable, though often a bit bland. Adrienne Ames is adequate as the heroine, and the minor characters are given some occasional moments of their own.

The result is a decent mystery that keeps you guessing. It will probably be of interest mainly to those who are already fans of the era and genre, but with that in mind it's not bad.