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The Road to Singapore (1931) is not to be confused with the Hope-Crosby Road picture with the same title released in 1940. The former is the first picture William Powell made for Warners.

Powell plays Hugh Dawltry, a man who ran off from his plantation on Khota (an island located off the coast of Asia) with a married woman. He returns a year later ---without the woman. He immediately sets out to seduce another married woman (Philippa Crosby March played by Doris Kenyon). Phillipa is stuck in a loveless marriage to a workaholic doctor named George (Louis Calhern) who for good measure is a snob and racist. George thinks that Hugh is trying to seduce his just-come-of-age-sister Rene (Marian Marsh) instead of his (George's) wife.

The film can be split into two parts. The first part seems to focus more on comedy. Powell engages in witty banter, which Phillip and Rene find amusing and charming. He also boozes way too much. The drinking, I think, is supposed to be humorous. Two actors (speaking in British accents) wander across a set from time to time and conduct inane conversations that are supposed to be funny but aren't. This part of the film is much weaker than the second.

The second half is more serious, as Hugh and Phillipa admit they have become heavily attracted to another. George discovers that Hugh is after his wife and not his sister. Much of the dialogue focuses on discussions about the nature of their mutual attraction, adultery and divorce. Hugh is thoughtful and freely admits to his flaws. Powell also displays some toughness towards George when the two confront on another over Philippa. Few films even today address these topics as well as the Road to Singapore.

The main actors (Powell, Kenyon, Marsh and Calhern) are all quite talented and are highly watchable. The film is short (68 minutes) and moves briskly and never drags. This is a precode film which means there is some risque dialogue; Kenyon and Marsh appear in one scene in filmy lingerie.

The Road to Singapore is not in a class with Powell's better films, like My Man Godfrey and the Thin Man. Interestingly enough, is one of the few films in which Powell character who is not entirely likable.

The Road to Singapore is probably not even in the upper 50% of Powells films. Still, it's definitely worth a look.

The 1931 film is not in class with Powell's classic films (such as My Man Godfrey or The Thin Man). However, it does have.

The basic plot of Sky Raiders was frequently used during World War 2. An axis spy ring headed by Felix Lynx (Eduardo Cianelli) steals a new invention with military applications (in this case a fighter plane) and kidnaps its inventor Bob Dayton (played by Donald Woods). Universal actually used this plot at least five times during the first half of the 1940's. In addition to Sky Raiders, the studio used it in the three serials featuring the Little Tough Guys grouping and in the Great Alaskan Mystery.

Sky Raiders, as was the case with many Universal chapter plays, tended to use better actors than the other two studios (Columbia and Republic) that made serials at that time. The cast (especially Woods, Cianelli, Robert Armstrong, and Kathryn Adams) all perform quite capably.

Unfortunately, this serial suffers from a script that can best be described cluttered. This film includes a love triangle (between Adams, Armstrong and Woods). Bob is kidnapped by the spy ring and replaced by his identical double (played by Woods, of course). Several scenes end with the throwing of a book. There are also a few scenes between two wisecracking airplane mechanics. These are attempts at humor that aren't funny. At least three of the characters (two of Lynx's henchmen) and Bob's protege (Billy Halop) have little to do. Sky Raiders could have done without them. Dealing with all these characters and plot devices takes a lot of time and the pace of Sky Raiders is often sluggish.

Sky Raiders is not a bad serial, but it's not an exceptional one. I recommend it only for serial buffs.

The 49th Man deals with attempts by some un-named nation to smuggle the components of an atomic bomb into the U. S. It is thus one of the many "red menace" films that were popular in the fifties.

This film was produced by Sam Katzman during his time at Columbia. Like most of Katzman's films it was filmed quickly and cheaply. There is a great deal of stock footage. One brief snippet of such footage is actually used on two different occasions. Several scenes, mainly during the first half of the film, contain no dialogue. Voice over narration is used to comment on the action and push the plot forward. The acting is adequate but not very impressive.

The best part of this flick is the plot. It moves quickly from the US to a submarine to Marseille and then back to the US. In the process enough tension develops in the plot to hold the interest of viewers.

The 49th Man is not a bad film but also nowhere near a great film. I would recommend it mainly to people who are fans of films of the fifties and/or films about commie subversion.