Charlie Chan sur la piste sanglante

This is a very good Monogram Pictures Chan that has snappy dialogue, a lot of funny lines from Sidney Toler (as Chan) who berates No.3 son Tommy more than any other of his prodigious offspring and a couple of scenes with Mantan Moreland and Ben Carter which are priceless!! The plot may stretch credibility a bit but the movie has a fast pace, good direction and sets that are above the norm for a Monogram Chan. Keep an eye out, as well, for the great elevator segment that is surprising and innovative. The banter between the actors in the broadcasting studio is also inspired and fun. Although not quite up to par with the Twentieth Century Fox Chan's this is damn close! Monogram Chan's get a bad rap sometimes but this again proves there was magic in the old detective series still. Check it out.

Some Charlie Chan movies by Monogram are just wretched. "The Scarlet Clue", however, is fairly well done. Lighting and camera angles make for a suitably mysterious atmosphere. The whodunit puzzle contains a well defined group of suspects. And the script is humorous, both the dialogue between Chan and his son, and the constant jabber of the wonderful Mantan Moreland.

But the film seems terribly dated. The plot, which involves WWII radar secrets in a radio station, is outmoded, and the scientific "equipment" belongs in a museum. Moreover, production values are almost nonexistent. There are some plot holes; and at the end, Chan never tells us how he deduced the identity of the killer.

Overall, for those who enjoy Charlie Chan movies, "The Scarlet Clue" is one of the better ones to watch. Everyone else will probably find this movie lame.

The mystery begins as Chan tracks a murderer across country to a radio/tv station. Once on the scene murder murders occur and Charlie, his son and Birmingham Brown almost meet their end in a rather novel way.

This reminds me of the great Frankie Darro/Mantan Moreland film Up in the Air which concerns murder in a radio station. That film moves better than this one in many ways since it never gets side tracked with the sleuthing of Number Three Son. Still this one has some novel twists in the means of murdering someone which keep this a watchable film.

I'm not entirely happy with the denouncement since events not long before it prove that the filmmakers were far from being fair.

Still for all its flaws its an enjoyable movie, especially with Moreland and his night club partner "not" saying anything

6 out of 10.

Loosely based on novels by Earl Derr Biggers, 20th Century Fox's Charlie Chan series proved an audience favorite--but when Japan attacked Pearl Harbor the studio feared audiences would turn against its Asian hero. This was a miscalculation: actor Sidney Toler took the role to "poverty row" Monogram Studios, where he continued to portray the character in eleven more popular films made between 1944 and his death in 1947.

20th Century Fox regarded the Chan films as inexpensive "B" movies, but even so the studio took considerable care with them: the plots were often silly, but the pace was sharp, the dialogue witty, and the casts (which featured the likes of Bela Lugosi and Ray Milland) always expert. The result was a kindly charm which has stood the test of time. Monogram was a different matter: Chan films were "B" movies plain and simple. Little care was taken with scripts or cast and resulting films were flat, mediocre at best, virtually unwatchable at worst.

Released in 1945, THE SCARLET CLUE is neither the best nor worst of the Monogram Chan films, certainly better than such dreadful entries as THE TRAP but a far cry from its 20th Century Fox counterparts. At the same time, however, the film has a certain interest due to its setting: a broadcast company. It would be a mistake to look to any Chan film for factual information, but the film does remind us--and quite effectively so--of that moment in time when radio still dominated even as television (which is repeated mentioned) began to make inroads with the public.

The story, such as it is, finds Chan (Toler) acting as a federal agent who is investing a murder involving radar secrets. When a stolen car leads him to a radio actress he soon finds himself in the middle of the broadcast company itself, where murderous communications are issued via teletype and elevators become instruments of death. It's all very flyweight stuff, but the details make the film watchable--as does the occasional actor, with Mantan Moreland a case in point.

In today's world the type of roles assigned to Moreland would be thought racist, but taken within the context of what was possible for an African-American actor at the time they remain remarkably charming. To it's credit, Monogram recognized Moreland's appeal, and always took care to give his name highly-placed credit in the cast lists. THE SCARLET CLUE is particularly interesting because it also allows us to see Moreland perform a few bits of his "interrupted talk" stage routine, performed here with Ben Carter--a bit of comedy that is every bit as clever as any thing you might find in Abbot and Costello's best work of the same period.

When all is said and done, THE SCARLET CLUE is indeed watchable, but it really is best left to hardcore Chan fans. Newcomers would do better to begin with the 20th Century Fox films, which are now at last becoming available on DVD.

GFT, Amazon Reviewer

"The Scarlet Clue" is a Charlie Chan mystery from Monogram starring Sidney Toler, Benson Fong as number three son Tommy, and Mantan Moreland as the chauffeur Birmingham. In this one, from 1945, Charlie is looking into the theft of government papers involving a radar. In doing so, Charlie not only runs into murder but also actors on the radio, as for some reason, there's a lab in the same building.

Delightful, often humorous Chan mystery, though incredibly dated today. Mantan Moreland is hilarious, and Chan has a great relationship with both son Tommy and Birmingham. Toler was a good Chan in very different, not very politically correct for these times. Enjoy them for what they are.