Madame Mistério

A reasonably entertaining combination of comedy and mystery, done in much the same fashion as 'The Thin Man', and even starring the same star, William Powell is as good as one would expect, however Jean Arthur does not work quite as well with him as Myrna Loy does, and she is even a tad annoying to have on screen at times. The script is well written with some good lines and an interesting plot, and the film relatively engaging on the whole. By all means it is inferior to 'The Thin Man', but yet it manages to do quite a good job with similar material, and other than Powell's character, the elements borrowed from 'The Thin Man' are fairly disguised. It is a good film in itself either way.

M-G-M had struck success in 1934 by adapting Dashiell Hammett's "The Thin Man" with William Powell and Myrna Loy in the central roles. The film was a commercial hit, received four Oscar nominations, and spawned five sequels between 1936 and 1947. The good folks at RKO Radio Pictures asked themselves "why can't we have success like that?" and so set about replicating the accomplishment. They got halfway there, at least: for the "Nick Charles" role, Powell was loaned out from M-G-M, but, for his "Nora," Jean Arthur arrived from Columbia Pictures. Both were already big names in the screwball comedy business – that year, Powell also starred in 'After the Thin Man (1936)' and 'My Man Godfey (1936),' and Arthur had graced 'Mr. Deeds Goes to Town (1936).' There does seem to be a slight mismatch in each star's comedic style; Arthur's impulsiveness tended to work better with an actor less sure of himself, like Jimmy Stewart. Thus, the interplay between husband and (ex-)wife doesn't quite come off as naturally as it did with Myrna Loy, but RKO still got their money's worth.

Does this 'Thin Man'-knockoff reach the heights of its inspirational source? It does its best, but the answer is no. While certainly utilising the comic talents of its two stars, 'The Ex-Mrs. Bradford (1936)' lacks an interesting script, becoming so halfheartedly-distracted by its main characters that the supporting cast – the very people whose movements we should be scrutinising – are anonymous wax figures. Robert Armstrong (Carl Denham in 'King Kong (1933)') is easily the most notable supporting player as shifty bookie Nick Martel, while Eric Blore does that snooty butler act he enjoyed so much. As for the other suspects, I can't tell you much about them. When, in a Nick Charles-inspired detective tactic, Dr. Bradford (Powell) decides to bring together all the potential murderers, I couldn't remember ever meeting half of them. Heck, it's been less than 24 hours since I watched the film – with full attentiveness, I assure you – and I can't even remember the name of the guilty party. At least the method of murder was ghoulishly clever.

Though Powell's character is supposed to be a professional surgeon, writer Anthony Veiller apparently felt obliged to furnish him with the characteristics of a detective. One of Nick Charles' most enticing attributes was that, despite an enviably laid-back demeanour, he could swiftly snap into physical action when a gun-wielding criminal threatened his safety. Dr. Bradford, likewise, picked up this instinct at some point during his medical training, and seems to be relatively well-acquainted with the city's hoodlums (admittedly, he does once complain about his ex-wife's habit of thrusting him into homicide investigations). Paula Bradford (Arthur) has the active imagination – and certainly the enthusiasm – of Nora Charles, but maybe not the courage under fire: upon entering the morgue, she faints in her ex-husband's arms, but not before Eric Blore has hilariously fallen down behind her. Certainly, if you're going to watch 'The Ex-Mrs. Bradford,' then it's for the two leads, who are pleasant enough to be worthwhile. As a kind of interlude in the 'Thin Man' series, it works, as well.

A William Powell/Jean Arthur murder caper from 1936. Think of it as a companion piece to Powell's more popular Thin Man films but w/o the booze, Asta (their lovable pooch) or Myrna Loy. Powell plays a well-to-do pathologist who's tasked to find out who knocked off a horse jockey. When the bodies begin piling up & at one point he's implicated in the murders, Powell, w/ample comedic assistance by the peerless Arthur, must find the culprit before another big race is upon them. Not really much different than Powell's signature crime series, one wonders why this outing wasn't rewritten & released as a Thin Man movie. Oh well, if you can't get enough of this pair, then this film'll do it for ya.

A jockey expires under mysterious circumstances, bringing in an urbane doctor and his ditsy ex-wife.

Pretty good whodunit. But the real mystery is the reason for this copy cat version of the Thin Man, especially when it's running at the same time as After the Thin Man (1936). Oh well, just one more Hollywood mystery. I suppose the reason has something to do with a change of studios, from MGM to RKO.

Whatever the solution, the screwball formula works well. Powell and Arthur are both in fine form, along with a fairly colorful cast of supporting players. Actually, the whodunit part is not really played up in a rather complicated screenplay. As expected, the real emphasis is on the two droll leads as they trade snappy dialog in sophisticated fashion. The results come through in highly engaging style. I guess my only remaining point is whether or not RKO has something against little Scottie dogs.

The comic banter between William Powell and Jean Arthur is the highlight of this murder mystery, which has one of the most bizarre and unlikely plots ever. Powell is probably the most suave detective of the 30's, and Arthur has a unique voice which often sounds like a succession of tiny tinkly bells. They are extremely fun to watch, so take the brashness of the plot with a grain of salt and just enjoy seeing it unfold. Eric Blore also has some comic turns as Powell's butler.

Powell's contract with MGM included a clause which allowed him to reject being loaned out to another studio, but he wanted to work again with Arthur and he liked the script, so he eagerly accepted the assignment. They had worked together in two 1929 Paramount films, The Canary Murder Case and The Greene Murder Case, both in the Philo Vance series.