Miracles for Sale

The Thirties were racing towards their close, accompanied by a curious speeded-up style of film dialogue, as though the writers were being paid by the word. These flat, metallic exchanges are suitable enough for wisecracks, but they kill any sincerity in lines that are meant to carry emotional depth. So for example, the film opens on Robert Young (later to be your favourite TV doctor Marcus Welby) putting the case for exposing fake mediums in order to protect genuine seekers after psychic truth. He sounds like more like an auctioneer at a meat-market.

This was the last film to be directed by Tod Browning, who exploits his own early experience in the circus by replicating all manner of smoke-and-mirror spectaculars that can hold the attention of audiences who may have been left somewhat behind by the intricacies of the plot. But a conference of magicians is always going to make a good start to a murder story.

It was Browning who had also directed the first Dracula talkie, and he brings in touches of it here, notably in the casting of Gloria Holden, previously of Dracula's Daughter, whose disdainful manner was believed to reflect her genuine boredom at appearing in movies she felt were beneath her. But her disdain manages to suggest mystery, and we are kept wondering whether this glamorous medium will be unmasked before the end. Glamour of a more conventional kind is provided by Florence Rice as the vulnerable blonde at the mercy of sinister dark forces. They say there were also some dark forces in the studio, claiming that it was only her well-connected father who got her the roles, apparently blighting her career.

One joke that certainly wouldn't be allowed today - a haunted skull moving its jaw up and down ("Obviously a woman!"). And a good disciplined performance by a fortyish William Demarest as the regulation sceptical cop.

Tod Browning's final feature length film is a dandy. It seems someone is killing off New York City's prestidigitators, and one of them, Mike Morgan (Robert Young) wants to know why; plus he may be the next victim. As Red Buttons used to say, "Strange things are happening." Murder victims disappear; murder victims reappear as apparitions. Never fear. Police Inspector Marty Gavigan (Cliff Clark) is hot on the case with his at times able assistant Detective Quinn (William Demarest).

A mysterious blond, Judy Barclay (Florence Rice), dashes from a taxi cab seeking sanctuary in Mike Morgan's abode of tricks and treats. Who is after her? Why is she interested in Mike Morgan? What is her relationship to the other magicians of New York City? The plot thickens as one by one some of the questions are answered, but not all until the very end. Mike Morgan is a topnotch magician who doesn't believe in the hocus-pocus of fake mediums out to scam innocent citizens. Yet so much is cloudy and mysterious he and the Inspector contact spiritualist Madame Rapport (Gloria Holden). Even though rapport with her is lacking, they hope to flush out the killer and uncover the motive behind the crimes.

With Tod Browning's circus background, the magic tricks and other special effects sequences are given an authentic presentation. Given the technological limitations of the day, some of the feats of magic shown are amazing. Another positive note, all the ethereal occurrences are explained through reasoning by Mike Morgan.

Robert Young shines in the lead role. Later, he became typecast twice. First as the perfect father, Jim Anderson, in "Father Knows Best" and then as everybody's perfect family doctor, "Marcus Welby, M.D." Many of the present generation don't realize that he had a long, successful screen career previous to his TV roles. He made many good movies, in particular the noir thrillers "They Won't Believe Me," and "The Second Woman." Florence Rice too turns in a fine performance. She failed to survive the 1930's because critics claimed she was in films as a result of her father's (Grantland Rice) influence. That's a pity since she showed so much promise.

For some reason, mystery movies of the 1930's required a dumb detective, most of whom acted so stupid that they became annoying rather than funny. This time around the supposed nitwit turns out to be the great character actor William Demarest. As always, he really can deliver the laughs.

The prestidigitator Tauro is played by Harold Minjir who usually overacts in his many supporting film appearances. This time, maybe because Tod Browning keeps him in check, he turns in an effective performance.

And, oh, yes, look for Charles Lane the indefatigable as the Fleetwood Apartments desk clerk, still alive at 101 and still available for work.

Back in the 1930s and 40s, a bazillion B-mystery movies were made. Some were quite good, others rather cheap and indifferent. Despite his status as an occasional A-film actor, Robert Young was given the lead in this MGM B--and with very satisfying results.

Young plays a debunker and magician named Michael Morgan. His character is a lot like today's Amazing Randi--and not surprisingly, psychics dislike him because he often is able to expose their trickery. He wanders into a strange situation where the trickery is so good that he seems almost ready to believe that these psychics MIGHT be real--especially because their tricks are amazing. How amazing is apparent after a murder occurs--and LOTS of weird things occur, such as folks dying and then seeming to come to life!

The film, despite the magic angle, is at heart much like a Charlie Chan, Falcon or Boston Blackie picture. However, its writing is just a bit better as are the rest of the production values. In fact, it's done so well that it really sucks you into the story. Well done all around and a film I nearly gave an 8. And, incidentally, this is director Tod Browning's final film. Although he lived another 23 years, he directed no more films and I'd sure love to know why since so many of his films are brilliant.

This was Tod Browning's last film and it got a good send-off. The budget was in the B bracket and the movie itself was somewhat stage-bound, but that's what the plot required and besides, Browning wasn't an "outdoor director" anyway. A few things to the credit of this film: Robert Young's role was to uncover fake mediums seeking to defraud others without denying the possibility of the supernatural. Also, the "explanations" for the hocus-pocus were saved to the very end and were really rather ingenious. Browning wasn't a director to move his camera very much if at all, but the editing was well executed and the action didn't remain glued to any of the sets. The movie has dated a bit but it's still quite amusing. I'm glad I caught it.

Curtis Stotlar

The first time I ever saw Florence Rice, that I know of, was in Four Girls in White. I fell in love with her immediately! Don't let one of the other reviews fool you, Florence was a talented hard working actress with a natural appeal, the girl next door type. She also had a comedy streak in her. She and Robert Young create some real "magic" in Miracles for Sale. (pun intended)Tod Browning brings his directorial good sense to the proceedings. Miracles for Sale is a delightful slice of a bygone era.

Sometimes being born privileged is a drawback. Was Florence the victim of petty Hollywood jealousies keeping her from being the huge star that she showed promise of being? Forty seven movies in ten years, OK they weren't all epics but she worked with some pretty heavy hitters. Perhaps in this day of DVD/VHS and our fascination with nostalgia, Florence Rice can be re-born into the STAR she should have been.