Meurtre en musique

It may be mediocre, small-time fare, but it's also an excellent example of studio filmmaking from the 40s. In the last of the Thin Man movies, Nick (William Powell) and Nora (Myrna Loy) solve a murder (again), this time concerning a jazz bandleader (I think; the plot was kind of confusing). The dialogue isn't as sharp as in the other movies, and Dean Stockwell as Nick Jr. is cloying (although he was far worse in Anchors Aweigh). Keenan Wynn is fun as a jazz "insider" who "jams"; the outdated language in this movie is unbelievable. This is also wholesale propaganda: all the jazz players in the movie are either drunk or unpleasant, or both, thereby reinforcing the wholesome American family. As Janet, Jayne Meadows looks EXACTLY like Donna on Twin Peaks. Intentional or not? Compelling enough reason to watch this movie (the other reason is a bizarre sequence in which William Powell remembers his son growing up while his memories are projected onto the boy's butt).

While it probably doesn't offer as much as most of the earlier movies in the series, "Song Of the Thin Man" is nevertheless a pleasant finale to the classic series. It has the usual blend of wit, oddly assorted characters, and mystery, with a solid supporting cast led by Keenan Wynn.

The story uses the now-familiar setup of Nick getting drawn into a mystery against his will. This time, it uses the jazz scene as the backdrop, and while the setting is not always used to its potential, it does allow Wynn some good moments that he makes use of. Wynn usually plays off of Powell and Loy rather well. Most of the rest of the cast does well when they get the chance, and Don Taylor works as a more serious, troubled character who is important to the story.

You can tell that they were running out of truly new ideas for the series, yet in another sense the series got an impressive amount of mileage from the format. This last movie may offer little that is new, but it is enjoyable as light entertainment.

I apologize for having the same obvious review title as several others, but I just couldn't help myself. This is only the least of the Thin Man movies if you have seen all of the others, especially the energetic precode that started it all. If this was the only Thin Man film you ever saw, you'd think it a superior mystery of its era with great leads.

It is 1947, Nick is obviously in middle age, Nora is on the edge of it, and our dynamic detective duo of the 30's and the war years (they made one film during WWII) are in a brave new postwar world that they do not quite fit into, nor do they understand. Their son is about ten and is getting old enough to defy them, and two young friends, socialite Janet Thayar and her newly wed musician husband Phil Brant come to them for help. They need help because the night before, aboard a shipboard nightclub, band leader Tommy Drake has been murdered, and because Brant and Drake were seen arguing, of course the police jump to conclusions and assume Phil did it.

Now as usual there are many suspects, some that are obvious and some that are not so obvious. However, to solve the crime, Nick has to investigate a world completely foreign to him - that of postwar jazz and the jive talking of the inhabitants of that world that sound like a foreign language to him. Nick hasn't lost a step in his investigation abilities, he's just having some trouble with the changing times.

I don't know if this was meant to be the last of the Thin Man films, or it just happened to be, but it was a perfect ending. Nick and Nora are moving into middle age, it is time for a new generation to take over, symbolized by the newlywed Brants, and the Charles' are ready to wander off into the sunset and deal with their son's upcoming teen years. A perfect ending to a perfect series.

My favorite scene has nothing to do with the crime. It is when the Charles' son has tried to duck out on piano practice and go play ball against their direct orders. Nora says a spanking is in order and hands this task over to Nick who hesitates as he thinks back on his son's birth, the good times, and then one memory of his son being a brat hits him and he is able to complete the task. In this one way Nick and Nora were very postwar - they winced at corporal punishment. This was probably the reason the baby boomers were entitled hippies in their teens and 20s, the most prudish bunch of old people since the pilgrims in middle age, and want the government to keep their hands off of their Medicare now that they are old. But I digress.

At any rate, adieu Nick and Nora, no sleuthing team before or after you were ever your equal in charm, teamwork, insight or just plain fun.

While I enjoyed this final THIN MAN movie, I've gotta admit that it was far less enjoyable than the first few entries in this series. Maybe the actors were getting tired or the writers had writer's block--but the movie just lacked the most important factor for a THIN MAN movie--FUN! Yes, some of the wonderful banter between Nick and Nora was present (particularly when Nora talks "jive"), but only here and there--not nearly as often or as hilarious as in previous films. And, unfortunately, the plot also is pretty convoluted (though I must admit that plot is NOT the primary reason people watched the films--it was the characters). Also, their son, played by Dean Stockwell, was never developed as a character and, Frankly, Nick and Nora seemed like TERRIBLE parents. Oh well, despite all these complaints, it still is a pretty good film--slightly better than average but that's really about all.

I completely disagree with some prior posters who thought this the worst in the series. First of all, it's one of the best mysteries with any number of possible candidates. Secondly, it has a really strong supporting cast led by K. Wynn who is terrific in the role of jazz inside man. Jayne Meadows and Ralph Morgan are also strong supporting actors. Third, it really showcases jazz, perhaps inadvertently and in a negative way however (as out of touch, out of the mainstream with a different language etc.), and has some great numbers (including the theme song, "You're Not so Easy to Forget" which I think the director was using as a nod to this being the last in the series of Thin Man movies and to William Powell. The director obviously makes his disapproving commentary on jazz in a subtle way: by focusing the camera on the bust of Beethoven just after a jazz scene! But he does integrate the music well into the plot since much of the plot takes place on a gambling boat.

The denouement of the mystery is also probably influential on other mystery/criminal series to follow (like Perry Mason) in that the entire cast of suspects is collected together, as in an Agatha Christie or a Rex Stout story. Fourth, the script is very, very witty and you have to pay close attention to the words (like the reference to Somerset Maugham with the "it couldn't be his razor", a reference to Maugham's, The Razor's Edge. Or how about the time William Powell is "eying" a ladies earrings but his sight is a bit focused elsewhere and Nora reminds him something like, "earrings are higher than that"! But I did think we saw too much of Dean Stockwell and the film would have better off with him in a reduced role (sorry to his fan club, but I'm no fan). I thought I saw the Wizard of Oz in this movie and it turns out that it is his (almost lookalike) brother! Lastly, Asta has a big and important role in this movie, fittingly so, since it is the last in the series. In short, great acting, great script, and great harmony between Powell (who really could act, especially in comedy) and M. Loy. Superb.