Morte nas Sombras

This mystery film is unusual is that there are two quite different (old & retired vs. young & active on the police force) detectives on the case, & they are both competent & work well together. Usually, Hollywood would be expected to have at least one of them take the comic element, but here they are both serious & both effective! Aside from trying to guess "who done it?," the viewer also finds him/herself wondering which of the two detectives will solve the case first, & this aspect adds to the excitement. There are plenty of suspects here, & the film moves along briskly. Berton Churchill is especially good as the older detective, & reminds me of a smaller version of the great Sydney Greenstreet. I rate this 8/10.

"But I didn't do it." "What! Then who the heck did?" The Dark Hour keeps viewers—and detectives—guessing until the final moment. A truly puzzling mystery combined with some juicy performances make this quite a nifty little hour of fun.

Berton Churchill as the retired detective—respectfully requested by his younger counterpart Ray Walker to assist on the case—is wonderfully nimble-minded and yet perhaps suspicious. Irene Ware is earnest and intelligent as the niece of rich old uncles in whose house the mystery develops—but she's obviously hiding something. Hedda Hopper bustles in occasionally with energy and smarts as an aunt who seems to know plenty but isn't saying just what.

Not a fancy movie, but one that's paced just about right: The action certainly moves along quickly, but care is taken to allow us time to notice which characters are thinking a bit more than they're saying. Irene Ware's character, for example, is given an extra moment of screen time here and there—just enough of an extra glance for us in the audience to see quite clearly that she's holding something back. Again, it's not fancy or subtle—but it does show that director Charles Lamont was paying attention.

The dialog is crisp enough; the actors move with energy. Hopper and Churchill, in particular, appear to enjoy themselves immensely in their roles.

My only complaint is that the sound is badly chopped up in the version I saw. Lines are dropped and cut into pieces (including in a couple of key moments!). I can only assume that the print from which this came had been shown about a hundred times and broken and been spliced in about that many places. Oh, well—I can live with that. Otherwise: a top-notch B mystery.

The plot has two reclusive old men keeping a watchful eye on their affairs they barely allow their niece to go out and visit a retired detective living next door. The woman is also visiting an active police detective and friend to the retired detective. When one of the uncles is murdered the young detective and retired detective join forces to solve the crime.

The suspect pool is too shallow to sustain this films 70 minutes and I would love to think that you can cut 20 minutes out of this and get a decent thriller, but I don't think its possible since this movie goes round and round dropping just enough clues and clever dialog in the interest of solving the crime that you really can't cut much. It would be a better movie if it simply got on with it instead of stopping for long scenes of discussion that seem more designed to fill out the running time rather than economically tell the story. Frankly I found myself hitting the fast forward in order to just have the movie move at a reasonable speed, which is a shame since this film is filled with tons of pithy dialog between all of the characters that I never heard.

Recommended for those with patience.

(Still any movie where the butler named Foot and played by great character actor EE Clive can't be all bad)

Chesterfield does it again--a tidy whodunit that, surprisingly, holds up pretty well despite its age. The race between the two detectives is quite droll and interesting; it shows, once again, that the fundamental lesson of integration between the old and the new still applies--regardless of decade and/or century. Of course, as the film was lensed nearly 70 years ago, some of the technical aspects of the plot do not age well. And, unless I missed something, I would have preferred a little more detail into the motive for the crime. Despite these minor quibbles, it was a relatively enjoyable 71 minutes, especially when Hedda Hopper was chewing up the scenery.l

The only big name i recognize in here is Hedda Hopper, who had started with bit parts in the silent films, become pretty well known years later, and then started her own "woman about town" gossip column, now playing herself in later films. (Gotta see he in "The Women" !) In "Dark Hour", two old timers are watching over their neice "Elsa", played by Irene Ware. ( Ware was apparently Miss United States 1926. ) Elsa will inherit EVERYTHING when the uncles go, so they are concerned that she might some bad decisions... and then... something TERRIBLE happens... and everyone tries to figure out who dunnit! Picture and sound quality are pretty turrible... but it's not so bad. Based on a novel by Sinclair Gluck.. couldn't find any info about him; this seems to be the only thing of his made into a film. Directed by Charles Lamont. He had been around in silents since the 1920s, writing and directing. Worked with some of the biggies in comedy and drama. Dark Hour is "okay"... it's just like every single "thin man", or any who-dunnit ever written. nothing in the middle really happens until the last five minutes when everything comes together. It's not so bad.