Bureau of Missing Persons

It is a typically fun high-speed Warner's. Cocky detective Pat O'Brien has just been kicked downstairs to the eponymous branch, wearing a derby hat. Bureau chief Lewis Stone tells him that his old-fashioned brutality won't work here.

the movie starts off as a series of vignettes about the sort of people who go missing and why, ranging from cringeworthy (Hugh Herbert and Alan Jenkins argue about how put together "jigsaws" -- corpses that have been chopped up) to amusing -- one recovered husband had disappeared because his young wife had been too physically demanding.

Despite the speed of the speech (except by Stone, who maintains the same emphatic style that he would use in Andy Hardy movies) and the zip cuts, the real story doesn't begin until half an hour into this 73-minute movie, when Bette Davis walks in, asking about her missing husband. The story quickly becomes complicated and sustains interest to the end, where O'Brien wears a Fedora to symbolize his redemptive modernity.

It's an unassuming movie , meant for fun, and it goes to demonstrate the brilliance of Warners' production in this period. Both the brutality and gags are kept offstage, lending a blase attitude towards the best and the worst. Herbert gets a rare straight outing, and does a good job. It's a pity that the movies seem incapable of speed and fun like this anymore.

If you've already seen all the well-known studio films from the early 30's, it's fun to go back and fill in with some lesser known ones, like this typical Warner's B-movie.

Its director, Roy del Ruth, was strictly B-list at this point in his career. The supporting cast -- Allen Jenkins, Ruth Donnelly, Glenda Farrell, Hugh Herbert -- are familiar from the Busby Berkeley movies, and each brings a stereotyped character briefly to life, which is what they were paid to do. Farrell in particular is funny as a gold-digger.

Pat O'Brien is actually the lead, although Bette Davis was given top billing. He's best known for playing butch types -- reporters, cops, soldiers, manly priests. (In this one, Butch is actually his character's name!) His performance here is surprisingly subtle and varied; it makes me want to see more of his movies.

Unfortunately the story is hopelessly implausible and unconvincing. Davis does the best she can with a confusingly-written part, although I can't quite tell whether she's trying to do an accent or not. And she changes from a blonde to a brunette halfway through -- was she shooting another picture at the same time?

The whole thing looks like it was thrown together in a couple of weeks. Probably the only really demanding scene to film was a car chase near the end, shot on location (or was it stock footage?).

All in all, probably worth 72 minutes of your time if you happen to run across it on TCM. Don't expect too much though...

...In fact, Warner Brothers seemed very confused as to who they wanted to play the hothead with a (usually) good heart until the production code era. Then it was O'Brien's level headed guy to Cagney's hothead. But here O'Brien is still in hothead mode, as he is Butch, a detective assigned to NYC's Bureau of Missing Persons - the part of the NYPD that tracks down missing persons or sometimes their corpses - because Butch has gotten to be too rough as a regular detective. Hopefully here he will learn to use his head.

Lewis Stone takes a vacation from MGM to play Captain Webb, head of the bureau, with a Judge Hardy style of leadership. It's interesting to see his humane treatment of people who must be informed that the missing is deceased, and how he tries to restore the deliberately missing to their families with minimum embarrassment to the missing or the families. Here we get into precode territory a couple of times.

Bette Davis plays Norma Roberts, a woman who comes to the bureau looking for her missing husband. But to be married to the guy she knows ridiculously little about what he looks like and his habits when Butch questions her. What goes on here? Watch and find out.

This is a great Warner Bros. precode in the Warner Bros. tradition that has an unusual setting. With Ruth Donnelly as the bureau's secretary with mouth and attitude to spare as usual, Glenda Farrell with a cameo role as Butch's estranged wife who is always coming in to clean out his pockets (it was the Depression, a girl's got to eat, you know?), and Allen Jenkins as a bureau detective who for once plays a capable guy who is in the know.

Pat O'Brien, Lewis Stone, Bette Davis, Glenda Farrell, and Allen Jenkins star in "Bureau of Missing Persons," a 1933 film from Warner Brothers. I noticed that one person who posted said that this was an extremely fast-moving film. I thought it would never end.

O'Brien plays Butch Saunders, a detective who is thought to have been a little too violent in his police work, so he is assigned the Bureau. He turns out to be good at his job.

Davis plays a young woman whose husband is missing. Normally in her early films, Davis is very blond, and very glamorous. Here she's not. Her role is an interesting one, with a couple of twists. She's very good, of course, but I doubt she would have been happy in this type of role for her entire career.

There are some other plot lines going on, with Lewis Stone a kindly man who tries to help people, and Glenda Farrell gives a fun performance as Belle. It's a familiar cast in their very young days and worth seeing for that reason. I admit I found it dragged a little.

This pre-Code WB production is typical of the period—a fast-talking lead, a batch of loose dames, a rather comical supporting cast, and an upbeat tempo.

As tough, aggressive cop named "Butch", O'Brien machine-guns his dialogue in pretty strident tones. Trouble is it does get tiresome. As Butch, he's sent over to Missing Persons Bureau from his former assignment to hopefully mellow out. Fat chance. Anyway, the screenplay weaves a number of missing person cases into the narrative, with the Bette Davis case being primary. An authoritative, no-nonsense Lewis Stone presides over the bureau that makes you believe he can handle the thuggish new guy. This was before Stone became enshrined in the Andy Hardy series. On the whole, Davis may get the billing but it's really O'Brien's movie.

With the comically adept likes of Farrell, Jenkins, Herbert, and Donnelly, there're a number of chuckles. But what I really like is that bit of business at the coffee bar, where condiments slide back and forth like hockey pucks. I wonder if that was director Del Ruth, a generally underrated craftsman with occasional flair. Despite the title, there's no mystery but there is some suspense near the end. All in all, the 73-minutes is more like a fabric of characters colorfully interwoven.