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Kay Francis is being blackmailed by her first husband, Monroe Owsley, who seems straight out of an early silent movie, his villainy and makeup are so overdone. He does everything but twirl his mustache.

Unfortunately he never got divorced from Francis, who unknowingly married rich old Henry Kolker. Owsley is blackmailing her - she decides to go to Cuba, where apparently he will stranded on foreign soil. Francis poses as a single woman to avoid publicity.

Meanwhile, suspicious husband Kolker hires handsome detective/gigolo George Brent. There's a funny scene where we first meet Brent having set a governor's wife in a compromising position with him. Hearing there's a police raid, all of the men pour out of the rooms. When the elevator operator asks, "First floor, Mr. Smith?" all of the men go "Yes!" Brent's behavior is kind of uncomfortable. He stalks and pesters Francis throughout the ocean voyage and in Cuba, attempting to seduce her. She does her best to fend him off without telling him that she's married. But he refuses to take no for an answer. Francis even takes a room on another floor to avoid him but he founds out her room number and shows up. So does Owsley. So does Kolker, who is finally suspicious enough of Brent to fly there.

I'll leave it at that. Everything ties up nicely, even though Francis seems oddly unbothered that Brent was paid to seduce her. Brent is too boyish - I kept thinking how much better William Powell would have been. Allen Jenkins and Glenda Farrell lend comic support.

Her gowns are spectacular, a big part of why the film is enjoyable. There's a costume change in every scene!

"The Key Hole" is one of those "If you've seen one, you've seen them all" type films, though it's certainly not bad. Francis plays Ann Brooks, married to a wealthy man (Henry Kolker).

Ann was married before, to Maurice (Monroe Owsley) who never got the divorce he promised her and is now blackmailing her because of it. She works out a scheme with her sister-in-law Portia (Helen Ware) to lure him out of the country, and then Portia would use her influence to have his visa taken away.

As part of the plan, Ann heads for Havana by ship, with Maurice following. Her suspicious husband has hired a detective, Neil Davis (George Brent) to try and seduce her, and along with Brent comes his spy, Hank Wales (Allen Jenkins). Wales meets Dot (Glenda Farrell), and these two provide the film's humor.

Well, you can guess what happens.

Kay Francis wears many fabulous gowns. I used to think the kind of lifestyle her character lived was just in the movies until I saw a 1930s Vogue magazine. What a formal time that was, with people dressing to the nines for lunch and to do any kind of traveling.

Almost all the ads in Vogue were for trips on ocean liners. We've come a long way, and I'm not sure that's a good thing.

Anyway, the film is predictable, but Francis is good, as are Jenkins and Farrell. Brent is very smooth and charming.

Kay Francis made these films by the truckload, and I have to admit I watch them when they appear on TCM. She really epitomizes that early '30s era for me - an era that has not one vestige of it visible today.

Henry Kolker suspects his young wife, Kay Francis, of having a lover. She is taking ship to Havana. So Kolker hires PI George Brent to shadow her and get the goods on her. What neither of them suspect at this stage is that the real issue is that Kay Francis is still married to her first husband, slimy Monroe Owlsley. Her plan is to get a divorce in Havana. She doesn't expect Owlsley to follow her to put on pressure, nor to fall in love with Brent, and he with her. That's just the inscrutable workings of fate and the Warner Brother script department.

It was originally planned as another team-up between William Powell and Miss Francis. I expect it would have worked better that way. Nonetheless, Brent acquits himself well. So does Allen Jenkins as his assistant. He falls for b-girl and kickback artist Glenda Farrell in a nice little comic subplot. Still, the focus is on the leads, with Miss Francis sporting her usual variety of Orry-Kelly gowns and portrait photography by Barney McGill.

Peeping through THE KEYHOLE we find an unhappy wife who sails to Cuba to shake off a blackmailing former lover, not knowing that her millionaire husband has sent a handsome detective to compromise her...

This elaborately plotted little picture is a very fine example of the kind of film Warner Bros. produced so effortlessly in the 1930's. Frothy, a bit silly & fun, it boasts entertaining performances and good production values. Depression audiences sat through scores of movies just like this, generally well made, but with interchangeable plots & stars.

Kay Francis & George Brent handle the romantic situations very nicely. Sophisticated & charming, they keep their stock characters from ever becoming dull. The humor is supplied by brassy blonde Glenda Farrell as a gold digging shill & dumb-as-dirt detective Allen Jenkins.

Henry Kolker as the suspicious husband, Helen Ware as his elderly, sympathetic sister, and Monroe Owsley as the oily Lothario, all add to the fun in their supporting roles. Especially enjoyable is little Ferdinand Gottschalk, appearing in only one scene as a comically flirtatious old banker.

Movie mavens will recognize sour-faced Clarence Wilson as the head of the detective agency.

Kay Francis was always watchable. George Brent for me was more variable, but in the right role he could be good. Need to see more of Glenda Farrell's work, but in the not enough already seen she came off well. Haven't seen enough of Allen Jenkins either, but from what has been seen when his material was good and gelled well with everything else he was fine. Always have considered Michael Curtiz a fine director, am not going to say what films of his are favourites of mine as it will sound too much of a broken record.

While 'The Keyhole' is watchable and Francis (not unexpectedly) and Brent (was not quite as certain) come off well, it didn't strike me as a particularly great film. In my mind it's lesser Curtiz too, as it was not material to properly engage in and not enough of his style comes through, this had a still settling feel instead. Some good things here and they are actually quite great, but 'The Keyhole' also has some serious drawbacks that in my mind are even more obvious.

Francis is glamorous and sophisticated and never plays her role too heavily. Brent is very charming, giving one of his most suave performances, and has a strong presence. Their chemistry is witty, endearing and elegant as one expects typically from golden age romance, so the romantic angle of the story convinces very much. Monroe Owsley is suitably oily and Farrell is amusingly brassy. Most of the cast come off fine.

'The Keyhole' also looks lovely, especially Francis' gowns which she looks quite a sight in. The music fits well with the tone of the film without sounding stock. There is some nice wit in the chemistry between Francis and Brent and the story tends to go at a lively pace.

Despite that, the story is predictable and can be nonsensical. Capped off by a suddenly introduced and that's it ending that makes one go what. Curtiz's direction usually has a lot more spark and style than here.

Script is uneven, often sparkling with Francis and Brent but flat too much everywhere else. Also agree with not seeing the point of Jenkins' character and Jenkins feels too out of place.

A just above average film but not great. 6/10