The White Cockatoo

In the 1930s and 40s, Hollywood made approximately 400,038,823 films similar to "The White Cockatoo". Murder mystery/whodunnits were a dime a dozen back then and because of this, I wasn't too interested in watching this film though I did because I usually enjoy Richardo Cortez films. Fortunately, it's better than I expected.

The film is set in a bizarro version of a French hotel. In other words, practically no one (other than the police who show up later) speaks with the least hint of a French accent! This isn't really a major problem...and it's common during this era of film making. Sue (Jean Muir) has come here from the States to meet her step-brother to settle their father's estate and they've never met each other. Jim (Cortez) is another American who just happens to be there and gets pulled into the murders...yes, murders. When the first body appears, the French police tell everyone that they must remain in the hotel until the case is solved. However, when more bodies start appearing you wonder who is going to buy the farm next and who is behind it all.

Overall, despite being talky (very common to all these sort of films), this one is well acted, well made and has a genuinely interesting story. Well worth seeing and among the better whodunnits I have seen.

Wind whistles throughout this picture from start to finish, presumably to bring some much-needed atmosphere and an aura of mystery to a pedestrian WB second feature set in an empty seaside hotel on the French coast; see other reviewers for a plot summary. It gets off to a good start but falters halfway through and becomes a potboiler-style drama, relying shamelessly on contrivance before stumbling to a questionable conclusion.

"The White Cockatoo" features an attractive cast, though, and stars genial, good-natured Ricardo Cortez (he of the sunny disposition), and lovely Jean Muir. On hand also are Ruth Donnelly as a ditzy schoolteacher, as well as Addison Richards, Minna Gombell and Walter Kingsford. The cockatoo in question is hardly noticeable, which makes you wonder why it's used in the picture's title. The main takeaway is the lack of suspense and tension, which detracts greatly from the overall enjoyment of a picture designed to mystify and frighten.

Routine whodunit, more complex than most. Seems Sue (Muir) travels to a French village to meet her long lost brother, so that once their identities are confirmed, they'll share a big inheritance. Trouble is people start turning up dead at their hotel, while Sue seemingly overcomes physics by appearing in more than one place at the same time. So what's going on.

Unlike the Hollywood custom of the day, there's no amateur sleuth operating here. Instead guest Sundean (Cortez) stumbles around along with the French cops. Reviewer GManfred is right: the narrative lacks suspense. I think it's mainly because there are too many angles at play at the same time. In short, too many subplots detract from needed whodunnit focus. Instead, there's dark Gothic atmosphere, along with a single wind recording that blows throughout. Anyway, Muir looks pretty, Donnelly acts ditzy, while the Cockatoo qualifies for SAG membership. But anything memorable, it's not.

The White Cockatoo is a well-paced and well-plotted old dark house mystery starring Ricardo Cortez (very good as usual) and pretty Jean Muir, an all-but-forgotten actress who bore a striking resemblance to Gloria Stuart. Set in a remote French hotel (on the Warner's back lot), and utilizing several authentically French actors in minor roles, the story involves an attempted kidnapping, a stolen inheritance, several impersonations and a couple of murders. Though typical of the second feature crime dramas of the era, it's a much-better-than-average version of that genre and makes for an enjoyable 73 minutes of intrigue, with hidden rooms, stolen papers, long-lost siblings and some genuine surprises.

The main attraction here is the strong supporting cast of Warner's stalwarts: Addison Richards, Ruth Donnelly, Minna Gombell (more glamorous than usual), Walter Kingsford, John Eldredge and Gordon Westcott. Oh, and there's also a nice little performance by Poochie, the titular white cockatoo. They all manage to bring some dimension to the characters, a quality which--along with a well-constructed story and better pacing than the average film of this ilk--elevates the picture to what I would call a B+. Highly recommended for fans of the genre.

American James Sundean (Ricardo Cortez) signs into a wind-swept hotel in France. Sue Talley (Jean Muir) is waiting to prove her identity to receive a significant share of a large inheritance. Soon, shots are fired and somebody gets killed.

The best part of this movie may be the constant wind noise. It gives a very specific moody atmosphere. The shooting starts almost right away. They probably need to introduce the characters more before then although the movie is only seventy minutes or so. It's a whodunnit with a limited number of suspects. I learned that it's called a Cozy Mystery. I like this until the cops leave with only Sundean. Surely, everybody is a suspect and they wouldn't leave so soon with only one man in custody. The sword was always rather silly. Stupid police is often an indication of poor writing and I can't explain these cops away.