O Cruzador Misterioso

Between the 1921 Washington Naval Conference (which effectively limited the international arms race for over a decade) and the start of the crank up before World War II, the U.S. Navy co-operated with Hollywood studios on a regular basis providing locations and facilities for dozens of major and minor films showing off the country's ships (both sea and air) and service men to keep them in the minds of the general population as the admirals fought for ever constricting budgets with an isolationist minded Congress. Also well worth checking out are THE FLYING FLEET and HERE COMES THE NAVY (in which feuding Jimmy Cagney and Pat O'Brien serve everywhere from the Arizona to the airship Macon - both to meet famous ends in later years).

MURDER IN THE FLEET may be among the least of these info-tainment efforts, but from the golden age of the classic murder mystery, it offers an enjoyable, more or less workable plot, an "about to be 'A List'" cast and some fascinating shots of actual elements of the U.S. fleet (the entire film is set on the USS Carolina aside from a few studio interiors and includes a number of exteriors of the ship under way including the actual crew).

Of special interest may be Key Luke's fleeting appearance as an aide to an ambassador/suspect from a (renamed to avoid "offence," but made-up to leave no doubt) fictionalized Japanese Empire. Someone might do a fun afternoon's mini-film festival of "Key Luke Afloat" with this, the 1936 ANYTHING GOES (Luke played one of a pair of gambling "Chinamen" on a civilian Atlantic crossing with Ethel Merman and Bing Crosby - a role somewhat reduced from the Broadway original) and (a year later) in his most famous role as Charlie Chan's "Number One Son" in CHARLIE CHAN AT THE OLYMPICS where Luke travels to Europe (these were the Berlin Olympics where Jesse Owens won Gold to Hitler's great displeasure and film clips of that race are included in the movie) by ship with the U.S. Olympic Team (he's competing as a relay swimmer)while his "Pop" rushes over on The Hindenberg.

The biggest "special effect" in MURDER IN THE FLEET is probably the flooding of a powder magazine with the film's hero in it - tame stuff by modern standards, but pretty exciting as played nonetheless. The film's McGuffin, the scientific equipment being installed on the Carolina, is pretty much science fiction (though finally, 70 years later, becoming less so), and as shown in action in the film it looks a bit silly, but it was good enough for its day, and in the spirit of the style of the film it doesn't distract.

Minor, but fun. Worth a look.

I thought it was just me. I wasn't going to review 1935's Murder in the Fleet, directed by Edward Sedgwick, but then I found out others had the same reaction, so I wasn't just having an off day.

This film is awful. And as much as my dear departed mother worshipped Robert Taylor, it's a miracle MGM kept him on after this. Up and coming stars were trained on B films, but he has very little to do here. I mean, come on, a columnist sat through Girl's Dormitory twice to get Tyrone Power's name - and he had a little cameo. This was a supporting role and he barely registered.

The navy ship as to meet a government assignment deadline for some procedure. However, it seems that someone wants to keep it from happening. After a crew member is stabbed, the ship becomes a floating Holiday Inn. Anyone who boarded cannot leave. And it's a lot of people.

Una Merkel plays Nat Pendleton's girlfriend. Hers, Pendleton's, and Ted Healy's high-pitched, yelling voices and fighting throughout nearly broke my eardrums. They NEVER shut up.

Jean Hersholt, Mischa Auer, Walter Byron, and Jean Parker are also on board for various reasons. Too many people. Robert Taylor stands around and is not very interesting.

I stopped caring. It's rare for me to want to turn off something. I didn't. I wanted to.

This movie makes me wonder anew how it was that Robert Taylor became such a star. It has to be his looks as his screen persona is, to me, always bland. That said, I'm glad I saw this movie. I found the best part to be the verbal sparring between Nat Pendleton and Ted Healy. Although I recognized many in the cast (especially fun seeing Keye Luke and Ward Bond), I missed reading the opening credits and quite frankly did not recognize Ted Healy and even had I seen his name, I would not have recalled the Three Stooges connection. I remember thinking during the movie "Gee, this guy is really good." So my favorite part of the movie is the one another reviewer found most annoying. Una Merkel as Toots was good but too overtly grasping and Jean Parker was inadequate to the task. I liked Parker in the Kitty O'Day movies but not in this one. The mystery itself is uninspired and basically uninteresting – the culprit was unexpected but logical.

This film, made in 1935, is a true reflection of the time. There was something for everyone in this picture: patriotism, a bit if romance and romantic comedy (Una Merkel) and some slap stick. All of the actors performered well and you do find yourself wondering "who done it". OK, I could have done without so much slapstick but I recently saw a film with Crawford and Gable that had The Three Stooges! Robert Taylor, only, 24 years old at the time, was very fine, as always. He made many pictures in 1935, at the time when the studios could roll them out like hot cakes. Some, like Camille, are very famous. He was not in these films only bc he looked good. A number of other commenters here heavily panned RT. For those folks, please remember that what you see on the screen is not the persona of RT but the character he is portraying. This was not an Oscar worthy PART but he does it with such great ease you have no idea he is acting. Part of what made him so exciting on the screen was his extraordinary good looks BUT it is his acting that is the most important. Had he been a total dud in Camille, he would not have continued to have an acting career of more than 30 years....maturing as an actor as he aged, prematurely dying at age 57.

If you enjoy such WWII promotional movies as "Your Navy At Work Today" (hypothetical title), you will enjoy this movie. Otherwise, you probably won't.

There are only two things that raise it even slightly out of the muck: Nat Pendleton and the girl he is chasing, Una Merkel.

Nat Pendleton, of whom I am a fan and have enjoyed as the dumb cop in many other films, is funny here, but not given much to work with, even though his part is bigger than usual. Mostly he grumpily gives orders to the enlisted men. His "repartee" with Ted Healy is without exception annoying. In fact, the main idea of "comedy" in this movie seems to be sailors yelling at one another, something that happens again and again.

Una Merkel, who was wonderful in The Bank Dick (1940), is the other highlight, although she is quite different here from the sweet innocent she played in that film. Her rough, low-life character is not particularly likable (although it is very enjoyable to watch), and she has too little on-screen time to come anywhere near saving the film.

Robert Taylor, at the peak of his youthful handsomeness, doesn't do much except stand around looking macho and break up the sailors who are yelling at each other. His girlfriend, played by Jean Parker, is repulsive throughout. I couldn't imagine what he saw in her. Money, I guess.

Arthur Byron is also good as the captain, but it is barely more than a cameo role. He does manage to give the spoiled Jean Parker a good lecture, though.

Taylor doesn't solve the case. He literally stumbles on the perp, who, to my sorrow, turned out to be one of the only other likable characters in the film.

A few great wisecracks from John Hyams as a fed-up husband. He has the only line in the whole movie that made me laugh out loud.

All in all, not worth the time it takes to watch it.