Bacio mortale

Here's another important early detective movie. It is important because it is early in the life of talkies (just two years after, really); it is a mystery (which was just being invented cinematically); and it is "folded."

That last means that it is a movie. And it is about a movie. All the characters except the hapless police detective are part of the movie within, which is also called "The Death Kiss." That designated detective is our usual surrogate: in the outer film trying to suss out the inner.

The murder in question is a murder in the movie within that is "real," meaning it is also in the outer movie. The real detective turns out to be the writer of the inner movie. I am not sure if this is the first appearance of this particular device. I would appreciate hearing if it is not. If it is, this film is of enormous importance. If not, it is still important, though for enjoyment purposes, well its pretty far down the list.

I'm tentatively making this a "worth watching," but if I confirm that it is the first talking with a movie with written by the same guy that writes the outer movie, I'll elevate it to a four.

Ted's Evaluation -- 3 of 3: Worth watching.

Not bad little cheapie, an early talkie about a murder in a movie studio. Enough clues to go on, some good red herrings, and only a couple of holes in the plot. Of course, to film buffs, Lugosi is the main attraction, but his part is small and his accent distracts. Interesting peeks at working movie company in the 30s.

"The Death Kiss" has been played up in recent years as a suggested horror film starring Bela Lugosi. In fact it is an interesting little murder mystery with Lugosi playing only a supporting role. Directed by first time director Edwin L. Marin, it contains many little plot twists to keep the viewer's interest.

In the opening scene for example, a man is shot down as he leaves a posh night club following an unsolicited "death kiss' from an attractive woman. It turns out that we were in fact watching the shooting of a movie. It also turns out that the actor who was "shot", Myles Brent (Edmund Burns) was really killed. So we are introduced to another of those Hollywood "behind the scenes" stories.

Detectives Sheehan (John Wray) and Sgt. Hilliker (wade Boheler) arrive on the scene. Turns out that Brent had been shot with a .38 caliber pistol while the props used in the scene were .45 caliber containing blanks. And, the actress who administered the "death kiss", Marcia Lane (Adrienne Ames) had been married to Brent.

Studio mystery writer Franklyn Drew (David Manners) takes it upon himself to investigate the case. He discovers where the shot came from and reports it to the cops. With the help of bumbling stdio guard "Gully" Gulliver (Vince Barnett) he continues his investigation.

Several suspects including Studio Boss Leon A. Goldsmith (Alexander Carr), Studio Manager Joseph Steiner (Lugosi), Director Tom Avery (Edward Van Sloan) as well as, Marcia Lane are investigated. Circumstances point to the guilt of Marcia and Drew, who has a romantic interest in her, works to find the real killer.

Needless to say, director Marin throws in several red herrings along the way. In the process he gives us an entertaining little (though low budget) mystery thriller.

As I mentioned earlier, Bela Lugosi is restricted to but a few scenes, most of which have him glaring at the other characters with those piercing stares. Manners and Ames make an attractive hero and heroine respectively. Its hard to believe but Lugosi, Manners and Van Sloan had appeared together a year earlier in Lugosi's signature film, "Dracula". Lugosi you would have thought, would have gone on to bigger and better things, however, he chose to appear in several low budget poverty row quickies in the years following his success in "Dracula".

Not bad for a poverty row thriller.

Although it reunites Bela Lugosi, David Manners, and Edward Van Sloan, the noted stars of Universal's hit DRACULA from the year before, this Edward L. Marin picture shot at the Tiffany Studio for World Wide Pictures is not a horror film. Instead it is a nifty, fast-paced little murder-mystery set in a movie studio, with decent production values including exemplary cinematography and editing for such a low-budget ($50,000) production, along with competent, effective performances from a cast of a few name stars and countless Hollywood veterans, including a number of former silent stars past their prime who had become reduced to character roles and bit parts after the coming of sound. Showing up in notable bits are King Baggot, Ralph Lewis, Barbara Bedford, Spec O'Donnell, Mona Maris, and more

The plot gets off to an intriguing start with the sequence responsible for the film's title. In a fancy car outside a swanky hotel as people exit in dressy evening attire, a classy, attractive woman (Adrienne Ames) tells some gangsters that their mark is the man she's about to kiss. It all looks like an energetic Precode gangster film is about to begin. When the woman kisses the pleasantly confused man and walks off, he's immediately gunned down and the camera pans over to the director and crew filming the scene. The director (Edward Van Sloan) says it looked awful and needs a retake, but they quickly discover that the actor is actually dead from a gunshot wound and the mystery begins.

A young scenario writer who specializes in detective stories (David Manners) is eager to try solving the crime himself, especially since he's in love with the actress, who happens to be the main suspect because she's the ex-wife of the not very well-liked dead actor and is still his life insurance beneficiary. The police (John Wray and Wade Boteler) arrive and get on the case but naturally the screenwriter is always a step ahead of them, often assisted by the comical studio security cop (Vince Barnett). Bela Lugosi gets a chance for a straight dramatic role as a studio executive who like several other studio personnel and/or their spouses, also has motives for getting rid of the actor, a notorious ladies' man.

While it may often seem a routine who-done-it, the script cleverly sets up numerous red herrings and misleading clues, and provides enjoyable moments of Pre-code Prohibition-era banter, satiric Hollywood in-jokes, and cutesy comic shtick. Also, the location filming gives a revealing glimpse behind the scenes inside a real movie studio, not only sound stages but screening room, projection booth, dressing rooms, bungalows, garage, makeup and electrical departments, etc., that raise it above average interest for any film buffs.

Another pleasant surprise from a 50 set Mystery Classic DVD package put out by Treeline Films. The Death Kiss is a diverting early 30's murder mystery set against the backdrop of a Hollywood studio movie production.This viewer enjoyed the knowing glimpse of the inner workings of a studio...the "Old Country" Jewish studio boss(with the fractured English and acute cost consciousness),the Big Star actress with a rocky private life,and the amateur sleuth screen writer.The whole cast , in this not exactly big budget film, is first-rate(a little too broad on the comedy relief). Good looking. likable chap David Manners plays the writer, and seems to be having a lot of fun doing so(what's with these David Manners bashers? My God, you'd think he was as bad as George Raft -The All-Time Worst "actor").) Bela Lugosi is earnest but somewhat out of place here.The Death Kiss keeps you guessing and is a nice flash-back to "Talkies" and actual "ice" in the ice box. Take a look....