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I'm betting that George Brent got the lead in From Headquarters because Pat O'Brien had not arrived at Warner Brothers. O'Brien was cast in the lead in the very similar Bureau of Missing Persons and he fit the part of a detective so much better.

Still and all Brent does all right with the part as one of two detectives assigned to the murder of a well known man about town. Only this particular man was seeing Brent's former flame Margaret Lindsay and she's a suspect.

Brent and Lindsay get good support from Eugene Palette who is carrying over his Sergeant Heath character from Philo Vance and Henry O'Neill as the chief inspector.

Two characterizations that should be noted are Robert Barrat as a rather sophisticated, but inpatient suspect who does in his own alibi and Hobart Cavanaugh as a safecracker who really manages to get himself murdered at police headquarters.

One guy I don't think belonged was Hugh Herbert who brought his 'woo woo' act into a serious film as a wacky bail bondsman. I guess someone at Warner Brothers thought he'd be good comic relief, but not here. Also Dorothy Burgess as another murder suspect was way over the top.

Look fast and you'll see Frank McHugh right at the beginning of the film as one of a group of prisoners being brought into the station in a paddy wagon. He gets a line to speak and his voice is unmistakable.

From Headquarters is a not bad B picture that played well on a double bill with their more well known gangster stars.

There are two cases being investigated here. One is a safe cracking case, and the other the murder of a wealthy playboy that was initially thought to be suicide. These two cases coincide.

In the first case the suspects are narrowed down by entering criteria into what passed for a primitive computer - without semiconductors. The murder case is more complex. The police start with the playboy's fiancee, Lou Winton (Margaret Lindsay), and there just get to be more and more suspects from there. The complicating factor is that Lou was homicide detective Stevens' (George Brent's) girlfriend before she was the playboy's fiancee.

Fingerprint technology, ballistics, autopsies, and blood testing are all mentioned. And like any WB film of the era there is an interesting cast of supporting characters running around - Hugh Herbert as an overenthusiastic bail bondsman, Ken Murray as an obnoxious crime reporter, Edward Ellis as a medical examiner who loves his work, and Dorothy Burgess as a crazy woman - she did that kind of role so well.

Eugene Pallette is in one of his less cuddly roles as Sgt. Boggs who seems to want arrest everybody for the murder. And you get to see something I don't think I've seen before in a 30s film - the police switchboard employs entirely male operators. At a little more than an hour it doesn't wear out its welcome, and I recommend it.

FROM HEADQUARTERS (1933) is a very interesting movie about a police investigation into a murder. The action takes place entirely within police headquarters, as cops interview suspects and scientists analyze evidence.

The movie is short and sweet (just over one hour long), filled with an entertaining cast of characters (ranging from policemen to news reporters to bail bondsmen), and quite enjoyable. It offers a fascinating look into the cutting-edge forensics of the day (how science was used to solve crimes). The movie shows how fingerprints are obtained and matched up. It mentions blood testing and autopsies. And there's a neat look at ballistic analysis (comparing marks on fired bullets).

George Brent, Eugene Palette, and Henry O'Neill play the police investigating a murder case. They parade in a string of the dead man's associates and each offers their piece to the puzzle of what turns out to be a very eventful night for the deceased. Each successive suspect's story is shown in a short point-of-view flashback, picking up where the last witness left off. The "whodunit" aspect is a little convoluted, but as the day goes on, developments in the lab shed new light on the case.

Edward Ellis (THE THIN MAN) plays the lead scientist, who relishes each breakthrough in the "lovely murder". It seems like Warner Bros. wanted to show theatergoers some of the cool new forensic strategies and technologies, and even though science has come a long way since 1933, it's still an interesting look back in history.

FROM HEADQUARTERS is not a top-shelf murder mystery or police procedural, but it's quick and fun, with some racy pre-Code material, a lighthearted sense of the macabre, and a unique historical value.

Directed by William Dieterle (THE STORY OF LOUIS PASTEUR - 1936, THE HUNCHBACK OF NOTRE DAME - 1939) and also featuring Hugh Herbert, Robert Barrat, and the lovely Margaret Lindsay.

6+/10

From Headquarters is a rather contrived and convoluted murder mystery but its brisk running time of 64 minutes and economic cross cut editing give the film more of a vitality than one would expect with the stolid George Brent in the lead. Clichés abound but a gallows humor among the precinct set nullifies them much of the time as the cops turn the screws on the suspects and the supporting cast steals most of the film.

It's another day down at headquarters of processing common criminals and chasing leads while reporters slovenly lie about waiting for a big story which comes in the way of the murder of a lecherous, blackmailer. Detectives Stevens (Brent) and Boggs (Eugene Palette) are given the case but approach it differently. Forensics meanwhile jumps into high gear gathering evidence through devious means and the killer as well as the victim remains in doubt until the final moments.

With the exception of the retiring Brent From Headquarters entire cast plays it broad and over the top. Margaret Lindsay's suspect and also the ex of Steven's divides her time between being stilted and hysterical while Palette's Sgt. Boggs spends the entire film lunging like a mad bulldog at all the suspects. In the same respect Hugh Herbert's overzealous bail bondsman, Robert Barrat's unctuous rug dealer and Edward Ellis's dark humored pathologist fit well into the spirit of the film.

Director William Dieterle and cameraman William Rees provide a decent look and rhythm to From Headquarters most of the way evoking in moments comparison to His Girl Friday and The Detective Story but its incredulous story line can only elevate it at best to a decent Charlie Chan.

I imagine that this 1933 Warner Brothers offering is among the first, if not THE first, of the police procedurals. Alas, it is not one of the better ones. Saddled with an extremely dull murder mystery (kind of like Agatha Christie on Darvon) director William Dieterle overcompensates with florid direction that results in hammy performances from usually good actors like George Brent, Eugene Pallette and Margaret Lindsay. And the members of the forensics unit act like The Hardy Boys meet Mad Scientists. However, for being a pioneer entry in a most worthy genre let's give this one a generous C plus.

When a Broadway playboy is found dead, it's first thought to be a suicide, then a murder. Police Lt. Jim Stevens (George Brent) is on the case.

Lou Winton (Margaret Lindsay), a Broadway performer with whom he's in love, is one suspect, but he's sure she didn't do it. It's obvious from her first questioning that she's protecting someone. It turns out to be her brother.

Then there's a coke addict, Dolly White (Dorothy Burgess). And what about Anderzian (Robert Barrat)?

This mystery moves right along, and is more interesting than many of these films due to the use of actual police techniques from those days - examining a bullet, getting fingerprints, and my favorite, the use of IBM punch cards and a sorting machine to search a database. This may be the first display of that technology in film.

Not only interesting, but fun to see, and also to note that those techniques in one form or another continue to be used.

George Brent is handsomer, I think, without his mustache, and does a good job here as an intelligent inspector.

Hugh Herbert is on hand as a bail bondsman, and Frank McHugh is on very quickly at the beginning.

This is an old one!

See if it is on TCM - you'll enjoy it.

In the 1930s, detective and crime stories were a dime a dozen. Very few of them were about realism but about entertaining the audiences. Because of this, there were a lot of clichés you could expect in a film about murder....such as the cops being idiots, the bad guy confessing to everything at the end of the film even though the good guys could not prove they did it and police procedures were practically non-existent...they just kept arresting the wrong people until they got the right one!! The films don't age well because of all this and there is a serious sameness to them. Fortunately, among these many cliché-ridden stories is one like "From Headquarters"!

The film begins with a murder. Non-stupid detectives begin investigating and you follow the case from start to finish. You see them taking fingerprints, searching files and early computer systems and questioning various witnesses. While the guy played by Eugene Palette is a bit like the dopey detectives (in fact, this same actor played dopey detectives in several films), he's not over the top and is competent. His boss (George Brent) is quite competent and clever...like you'd hope a detective would be.

The bottom line is that this film is extremely well written, has much better than usual acting and has aged very well. The actors seem more realistic and less like archetypes in this one. Plus, it is fascinating seeing how thing have and haven't changed over the last 80 or so years. Well worth seeing.

GEORGE BRENT doesn't display much enthusiasm for his role as a police detective who finds that his ex-sweetheart (MARGARET LINDSAY) is the chief suspect in the murder of a wealthy playboy. There are several suspects under police grilling and all of them tell their stories in brisk flashback technique that keeps the plot spinning in all directions so that all options are on the table in guessing "who done it." It's a ploy that doesn't work well here. A more straight-forward approach would have worked better in keeping the plot from getting too cluttered. By the time we reach a conclusion, the viewer is left hoping the story is over once and for all. What does work is showing the behind-the-scenes methods the crime labs perform in solving a case.

It's a programmer given what little life it has by a capable cast of Warner supporting players including Ken Murray, Hobart Cavanaugh, Dorothy Burgess, Eugene Palette, Theodore Newton and others and benefits from brisk direction by William Dieterle.

Summing up: A more polished script would have helped and George Brent seems too detached on this occasion to make much of his detective role.

This feels more like a promotional video for the police than a feature film. 'See our cutting edge technology, our integrated communication systems, our state of the art forensic laboratory and meet our dedicated and intelligent personnel.'

Tension, excitement and suspense is abandoned in favour of systematically explaining how crimes are investigated and of course solved. If you're interested in police procedures in the early thirties you might find this interesting but if you're expecting entertainment then don't bother with this. It's hardly SILENT WITNESS!

Surely this was made to appease the criticism about pictures depicting the boys in blue as corrupt and incompetent idiots. In this, Warners seem to have done a complete 180 degree turn in making them the epitome of integrity, smarter than Einstein and with more compassion than Jesus.

It's an interesting idea but not an interesting film.

This one made on the cusp of the film code. When a broadway performer gets bumped off, it's up to detective stevens (george brent) to find the killah. Co-stars margaret lindsay as miss winton. Keep an eye out for ken murray as mac! He had sub-par roles in a bunch of films, then moved to documenting stars and their activities in hollywood with his own video camera. Interesting story in his bio here on imdb! Gene pallette showed up in so many films in the 1930s and 1940s. But if you read his entry in wikipedia dot org, you'll see that he was not a nice person. And of course, the accidental comedian hugh herbert! Directed by william dieterle. Lindsay worked with many of the huge hollywood stars, but never really made it big herself. Brent got a couple stars on the walk of fame, but wasn't nominated for any oscars. Surprising, as he had been in some big films, with some big stars!

As a mystery, From Headquarters isn't very challenging, but it might hold your interest as a behind-the-scenes glimpse of police procedure. The film is at its best when showing the details of a typical murder investigation, including two scenes that prove how little ballistic testing has changed in more than five decades. Another plus is the photography, which generally rises above other programmers of its ilk. [In one set-up, the camera establishes a shot of an autopsy in progress and then takes the vantage of the corpse looking up at the doctors.] There is also a pre-code reference to drug addiction, personified by a murder suspect (Dorothy Burgess) who is a riot of facial ticks, jitters and hysterical laughter. The cast is competant, if largely uninspired, with leads Brent and Lindsay their usual drab selves. Some of the supporting players--Hobart Cavanaugh's non-comic safe cracker, Hugh Herbert's pesky bail bondsman, Edward Ellis's enthusiastic forensics man and Robert Barrat's eccentric rug importer--are decidedly better. Not one of director Dieterle's best, but an interesting curio all the same.

There are the various going-ons in and around the police headquarters. Suddenly, a big case comes in. Police detectives Stevens and Boggs pick up the case. They interview various people. The techs look at the various evidences. There are various twists and turns.

This would be a modern TV police procedural, but less flashy and more stationary. I know that this is the gimmick, but I would still like to leave the building. I like the techs doing their techie investigations. They do have some action inside the building. At the end of the day, this is an interesting police procedural from another time.

One of MANY programmers from "Warner Bros." during the 1930s, there's nothing that makes "From Headquarters" distinguished in any way.

The cast is fairly good, especially Eugene Pallette as the gruff city cop. George Brent seems out of his comfort zone as the investigating police officer. Margaret Lindsay hasn't much to do, considering she's the film's leading lady. The annoying Hugh Herbert is doing his usual cringeworthy attempts at humour. How he ever gained employment in Hollywood is beyond me!

The brief running time is a good thing, considering that the entire story revolves around the police department. That reduces the scale of the film and its impact.

Early starring role for handsome George Brent, soon to be Bette Davis' long time movie partner. Bette may have been considered for this film as both were under contract at Warner Brothers, however the leading lady role went to Margaret Lindsay instead, later to appear with Brent and Davis in JEZEBEL.

Today's Caper: Murder of a playboy, undercover blackmailer, who has a long list of enemies.

I agree, this production was a way for Warners to show off some dazzling crime lab forensics, a la CHARLIE CHAN. Director William Dieterle to be credited for detail, one of the most intricate scenes (an inspiration to DRAGNET), lining up grazes on bullets to determine the gun used in a crime.

Wonderful cast, Brent (Detective Stevens), assisted by boisterous Eugene Pallette (Sgt. Boggs) and Henry O'Neill (Inspector Donnelly). Comedian Hugh Herbert plays Lou, and on the more dramatic side, Robert Barratt as Ander. Both Pallette and Barrat would co-star in one of the greatest 30s mysteries, THE KENNEL MURDER CASE, opposite William Powell.

Can you spot other familiar faces from the WB stock company? Best part for film buffs.

Thank you TCM for bringing this oldie out of retirement. All us kids remember it well back in the day of black and white tv ONLY.

Remastered WB dvd. Shop the Warner Brothers dvd and blu ray store on line for updates. If you're in Hollywood, stop by the studio store. A treat.

Broadway Johnnie Kenneth Thomson is discovered dead in his apartment. Detective George Brent and Sergeant Eugene Pallette draw the case, which becomes more and more confusing as it proceeds.

Warner Brothers made several of these 'cops doing their jobs' movies in the Pre-Code era, and delighted in showing the unattractive side of police work. Here, it's Edward Ellis, best remembered for playing the murder victim in THE THIN MAN, who draws the honors as a creepy police scientist who seems to have all humanity drained out of him in his pleasure at his investigative tools. But there's also Hugh Herbert as a bail bondsman, Dorothy Burgess as an addict, and James Burtis and Ray Cooke as a crime reporter and his photographer, trying to get a cheesecake photo of suspect Margaret Lindsay who add to the sleaziness.

Although there are plenty of red herrings ragged across the scene of the crime, the actual murder is solved with a clue that is not in the possession of the audience when it is done. Still, William Dieterle does well with the movie, with the usual large cast of Warners character actors including Henry O'Neill, Hobart Cavanaugh, Ken Murray, and Matt McHugh showing up for small bits.