Shadows on the Stairs

Keeping in mind that this movie is totally American and the UK had been at war for quite a while, most people everywhere were looking for something to enjoy and smile about. Those who critique this movie as lacking some action/adventurous mystery just don't understand the feelings and thoughts of the early 1940s when the US would be facing Pearl Harbor in just 9 months from this release. And for the Warner Bros. to send a kind and light-hearted film to the UK when they were facing bombs and death was a good thing. Some of the critiques here went as far as criticizing the actors - all of whom did their jobs very well. But then I'm familiar with those who think they know more than they actually do know. The bumbling police, the silly portrayal of the women were all designed in the story to bring that light-heartiness to the viewer. I'm surprised there wasn't a cute Scottish Terrier running around. So if you like a Light movie without the blood and guts as some people here wished to have seen, this is a pleasant stage play turned into a cute movie for a hour's time.

This is a stagy film with a group of idiosyncratic characters, roaming around a boarding house. Everyone is a suspect; everyone has some strange being about them. When a man is murdered, a group of buffoonish police infiltrate the house and act like Pirates of Panzance idiots. Don't even try to talk about motivations or realities because you won't find them here. We have, of course, the handsome smug young man who is "writing his play." If this is what he came up with the cop who implies that he has no profession is probably right. The acting is stilted. Some of the characters are strictly comic and there are those long pauses for us to laugh. Whether we should hold this to today's standards or not isn't the issue. There were well-done films in 1941 as well as now. This just lacked pizazz. And the ending is most disappointing.

Shadows on the Stairs is a B mystery film from Warners and, despite some of the British accents, it was filmed in Hollywood on the Warners lot. It's a light mystery that probably was just what the Brits needed as war was raging.

Based on a Broadway play produced in 1929, the story concerns a boarding house, the Armitage, where a murder takes place. The victim is one Joe Reynolds (Paul Cavanagh), who was up to something no good with another lodger, Ram Singh (Turhan Bey) and also having a clandestine relationship with Mrs. Stella Armitage (Frieda Inescourt) herself.

Ram Singh, we learn, is a patriot attempting to free India from the British. His group is to get $500,000 British pounds with Joe's help, but Joe is a racketeer.

Mrs. Armitage is a wreck about Joe's business affairs and lets him know she's determined to put a stop to them. Little does she know that her husband Tom (Miles Mander) saw her and Reynolds embracing. So he's another suspect, right along with Stella and Ram Singh.

Other characters include a recently fired maid, Lucy (Phyllis Barry) who was also involved with Joe. The only ones who don't seem involved are the Armitage's daughter, Sylvia (Heather Angel), and a playwright (Bruce Lester) who is in love with her. Then there's the spinster, Phoebe Martin Saint John Snell (Mary Field).

With a second murder, the problem becomes even more difficult to figure out for the inspector.

And the denouement will surprise you.

Very well done mystery that will bring a smile to your face. The acting is delightful, with the exception perhaps of Frieda Inescourt, who seems to be playing to the last row of the National Theatre.

An unusual film for Warner Brothers, but entertaining just the same.

Rarely in films do we find a murder plot that misdirects viewers with the finesse of "Shadows On The Stairs". What a delight. Beginning with one particular early scene, the plot cleverly leads viewers down the garden path. And a second twist delightfully compounds the misdirection.

There are eight major characters. At least one is murdered, leaving seven suspects. I was sure I knew who the killer was. I was dead wrong, owing mostly to the shrewdly written script.

Most of the action takes place inside a multistory boarding house. People come into and leave rooms rather often. And the script is quite talky. The film has the look and feel of a stage play, except for the first few minutes. The title is a bit misleading, implying noir lighting that doesn't really exist in the film. There's not much in the way of spine-tingling suspense. The main selling point is the stunning ending wherein viewers learn how they have been duped into making multiple false assumptions. Clearly, that upsets some viewers. But one cannot deny that the misdirection is clever.

B&W lighting is acceptable though conventional. Background music is a tad manipulative, which is consistent with many films from that era. Casting is fine. Acting inclines toward the exaggerated, yet that is subtly consistent with the underlying story concept. The film does not take itself too seriously, and it should be watched as slightly comical.

There's no great thematic depth to the story. The appeal lies entirely in the film's entertainment value. But the surprise ending makes "Shadows On The Stairs" one of the better whodunit mysteries from the 1940s.

Residents of a boarding house become suspects when one of the owners is murdered, the maid goes missing, and a mysterious easterner is involved in shady dealings. Romantic triangles, smuggled boxes, and a strange veiled lady complicate the plot.

Average whodunit, very much in the light-hearted style of the time. There's the amateur sleuth, the ingénue, the comical cops, and a collection of sinister and not-so-sinister types. Unfortunately, the direction lacks imagination or style. The dense, talky script is filmed in pedestrian fashion adding little to the stage play origin. Some suspense builds in generic fashion as we wonder who killed Joe. However, trying to cram the many story subplots into an hour's format squanders narrative focus, thus weakening suspense. Heather Angel as the ingénue Sylvia adds much needed spark, while Mary Field as the spinsterish Miss Snell manages a degree of pathos. The unusual ending is, I think, a matter of taste. All in all, as a mystery, the programmer doesn't live up to its opening scene, but might do for a rainy night.