Murder with Pictures

Lew Ayres and Gail Patrick both give good performances, and the two of them plus a fast-paced story make this an enjoyable B-feature. The crime/mystery story is often implausible, but it provides some interesting developments and it creates some good action.

Ayres and Patrick were both pretty talented performers, and their roles offer each of them some good material. Ayres plays an easygoing news photographer who gets involved in a murder case, in which Patrick's strong-minded character plays an uncertain role. It's good to see Patrick get a more prominent role than usual, even in a low-budget feature, and her elegance fits in well.

The story uses a number of offbeat details to keep things moving, and this helps to hold your interest in the story as well as in masking some of the low production values. This is not bad at all for a movie of its kind, and it provides an hour or so of good light entertainment.

I wound up with this movie on one of those dubious £3.99 four-packs full of 'films you've never heard of'. And, well, on a slow Sunday, I treated myself to the experience...

And, frankly, I was more than pleasantly surprised. Snappy banter plus strong performance from the leads made up for a transparent plot and lackluster 'action' sequences.

Gangsters, reporters, dames in distress (and even a particularly dismal 'car chase scene') - all the traditional trappings of the 'noir' genre, but given a slightly humorous edge by Ayres' enjoyable performance as a wise-cracking reporter.

Part of the Treeline/Reel Media 50-Movie Mystery Classics Collection from 2003, the sound quality is a little shaky, which probably explains why we NEVER see this one on Turner Classic Movies. Director Charles Barton had helped on a couple of silent movies, but had only been directing for 2 years when he did "Murder with Pictures". Given some quick one- liners by the writers, Lew Ayres stars as photographer Kent Murdock, trying to navigate around everyone involved with the trial he is covering. The part is quite generic, and anyone, like Bogey or William Powell could have played it. Co-stars Gail Patrick and Paul Kelly. Pretty short, at 69 minutes, it was probably considered quality at the time, since Edith Head did the costumes. Lots of cops- and- gangster type threats, guesses, and intrigue, and the bodies start piling up. Lots of car chases and the usual murder mystery antics, but pretty good. Liked Ayres better in "Holiday", which he would make two years later with K Hepburn and C Grant.

Routine mystery programmer from Paramount. The mystery part –- who killed lawyer Redfield —is too scattered to immerse viewers. (But I have to admit that like others the sound quality of my DVD was fuzzy. So I may have missed some important threads.) Anyway, instead of the whodunnit, interest for me lies with an energetic cast of B-list players. Ayers plays a fast-talking reporter (are there any other kinds) who becomes an amateur sleuth while cops stumble around in the popular manner of the day. Ayers' career later suffered from his conscientious objector's status during early WWII, which he managed to convert to medical corpsman for the remainder. Perhaps the movie's biggest focal point is the statuesque Gail Jackson-- later executive producer of the highly popular Perry Mason series (1957- 66). Check out her bio; she's every bit the brains that her regal appearance implies. Here, she tends to rivet viewer attention. Also, watch for Paul Kelly as a reporter. He was briefly jailed in real life for killing his lover's husband. If I'm going on about the cast, it's probably because the movie itself amounts to little more than a routine time-passer, fuzzy sound or no. There's one amusing moment when Ayers and Patrick share a shower with, guess what, their clothes on. Thanks, Production Code.

While there are enjoyable parts to this film, they have most to do with the wisecracking performances. There is just too much suspension of disbelief to work very well. The characters seem bound and determined to fit into the plot, even if the plot is particularly strained. The byplay between the stripper who has a contract to marry him, doesn't play very well, in my opinion. I know what comic relief is, but I really can't take anything seriously once she shows up. This is about murder, and yet there is little care taken to protect those who are victimized. Cameras come into play frequently and the provide us with the clues we need. There is so much evidence and such carelessness by the authorities that it really detracts. I may be taking this too seriously, however; it's not much of a heavyweight film. The conclusion left me utterly cold.