Noites de Monte Carlo

Larry and Mary, young stars of high society, eye each other from their respective boxes at the race track. Mary's aunt warns her that Larry is "notorious"; Mary coolly replies that he's awfully good looking. Larry rides his own horse in the steeplechase—and is thrown off. Faking injury, he catches a ride to the hospital with his head on Mary's shoulder…and the two are quickly engaged. From there the plot takes a while to develop, but eventually….

Larry is (mistakenly) convicted of killing a gambling hall owner, escapes from the train on the way to prison, and somehow makes his way to….Monte Carlo! where he suspects the real killer has fled. In Monte Carlo, he befriends a young French woman who becomes devoted to him, and pursues his only clue: the killer always plays numbers 7, 14, 28 and 29 on the roulette table.

John Darrow and Mary Brian do well as Larry and Mary; both develop interesting and distinctive characters that viewers can root for. To the newspapers, Mary is "Little Mary of the Vernon Millions," but she quickly establishes an independent streak that worries her protective aunt. Larry has "a reputation" but he's charming and dashing and—it turns out—tough and resourceful.

George Hayes plays the other major character, a police detective named Gunby—yes, a detective in a coat and tie. He watches with narrowed eyes, asks questions and adds up details, concludes that Larry is indeed innocent…and also sets out for Monte Carlo to hunt for the real killer.

Astrid Allwyn is excellent as a dangerous blonde who tries to pull a fast one on Larry and Gunby. An actress named Yola d'Avril is sad but loyal as Larry's Monte Carlo assistant.

There's no shortage of plot in this 62-minute adventure. And it keeps the viewer guessing—the suspense is not exactly unbearable, but it does build nicely to a well done climactic scene.

Fans of Monogram's 1930s westerns will enjoy not only George Hayes but a quick glimpse of the great Yakima Canutt phoning the police—in a tuxedo!

For an hour-long programmer, the flick's not bad. The plot's pretty familiar. A guy gets accused of a murder he didn't commit and now has to track down the real killer, using a roulette-wheel combination as a clue. Good thing others want to help.

For former Saturday matinee kids, like this now geezer, the real magnet is Gabby Hayes with his teeth in and no whiskers and playing a big-time cop, no less. I was fascinated, to say the least, after so many years laughing at his goofy sidekick to Roy Rogers, Hopalong Cassidy, et al. Here, he shows a versatility I would never have expected. Also, it's an excellent cast for a cheapo, with a bevy of lovely ladies, along with a leading man, Darrow, who bears a strong facial resemblance to Marlon Brando - see what you think.

All in all, the minor flick holds interest though doesn't generate much suspense, the identity of the real killer being a rather minor point. At the same time, actress Bryan does make the romantic angle work pretty well. And catch those head-hugging cloche hats fashionable ladies wore at the time. I'd like to see them make a comeback. Anyway, give the flick a try. It's a good way to pass a leisurely hour.

Well! I like this film and here's why: it is very well made, it has two excellent good looking stars in beautiful Mary Bryant and handsome John Darrow, it is MODERN as a 1934 pic can be, it is actually interesting, a lot of care is evident s the casting and costumes... and the art direction, set design and budget is clearly on show on screen. Best of all for me is that it is a 1934 Monogram Picture and this little film company started in 1931 as a very low rung indie was really getting up into big theatrical bookings and excellent box office success. This is a good small film with very strong screen cred. It comes from a small pulp fiction dime novel whodunit by schlockmeister E Phillips Oppenheim who possible ground out dozens of mystery thrillers in the 20s. Like KING KELLY OF THE USA made the same year at Monogram, it is a calling card to big chain theaters: this little film company was striving to please; and this film does in the ways described above. And at 60 minutes or so, it would have been booked everywhere and very profitable.... as I said on the KELLY comments... no wonder big bad wolf Herbert J Yates was waiting to gobble them up into Republic Pictures the next year, as he did, until Monogram wriggled free in 1937 and rattled on until 1988 (as Allied Artists). This is antique talkie fun... and very well made.

When the film begins, the rich playboy Larry (John Darrow) finds himself engaged to two women--one who is a gold-digger and another, Mary (Mary Brian), who is kind of sweet. Larry manages to shake loose the gold-digger but just when it looks as if the marriage will go off without a hitch, Larry is in the wrong place at the wrong time and the police think he killed someone! He's sentenced to 10 years in prison--a wonderful way to spend his wedding night! However, there is a LOT more to the story than this. There is a clue that the real killer is a guy who is obsessed with playing a bizarre little system for roulette--and when Larry manages to escape from the train taking him to prison, he begins to investigate on his own! And this is only the beginning....see the film and you'll see what I mean.

The plot to this film is wildly improbable and the actors are mostly unknowns. Additionally, the film is obviously a cheap B-movie with very modest pretenses. BUT, despite all this, it IS entertaining and well made. If you don't spend too much time thinking through the plot, it is quite fun and worth seeing. A better than average B-mystery, that's for sure.

Not more though, not more. It is kind of comedy, thriller, hesitating between several tendancies in the script, as so many features from the thirties. It is not a bad, lousy movie but on the contrary worth seeing. One part takes place in the South Of France, French Riviera, which brings a specific touch, charm to which many audiences can't be insensitive. The topic itself is predictable, nothing, so don't expect much from this side. William Nigh was a important director during the silent period and a bit less when the talkies emerged. He was a prolific film maker and for gem diggers his filmography is interesting, no matter the stories.