Madame Mistério

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.

William Powell is a doctor dealing with a murder and an ex-wife in "The Ex-Mrs. Bradford," also starring Jean Arthur, Eric Blore, and James Gleason.

It seems that Powell had chemistry going with just about any woman with whom he was teamed. Though he and Myrna Loy were the perfect screen couple, the actor made a couple of other "Thin Man" type movies, one with Ginger Rogers and this one with Arthur, both to very good effect.

Somehow one never gets tired of seeing Powell as a witty, debonair professional and "The Ex-Mrs. Bradford" is no exception. The ex-Mrs. B has Mr. B served with a subpoena for back alimony and then moves back in to help him solve a mystery that she's dragged him into. And this isn't the first time she's done that!

It almost seems as though there was a "Bradford" film before this one or that this was intended to be the first of a series of films - Mr. B complains that his mystery-writer ex is constantly bringing him into cases.

This time, a jockey riding the favorite horse in a raise mysteriously falls off the horse and dies right before the finish line.

The solution of the case is kind of outlandish but it's beside the point. The point is the banter between the couple and the interference of the ex-Mrs. B. Jean Arthur is quite glamorous in her role and very funny.

However, with an actress who comes off as brainy as Arthur does, the humor seems intentional rather than featherbrained.

I suspect the writer had something else in mind - say, the wacky side of Carole Lombard. When Arthur hears that the police have arrived, she says, "Ah, it's probably about my alimony. I've been waiting for the police to take a hand in it," it's more of a rib to Powell rather than a serious statement. It still works well, and it shows how a good actress can make a part her own.

Definitely worth watching, as William Powell and Jean Arthur always were.

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.

I've seen the Thin Man series -- Powell and Loy are definitely great, but there is something awfully sweet about Powell and Arthur's chemistry in this flick. Jean Arthur SHINES when she looks at Powell. There is an unmistakable undercurrent buzzing between them. This film may not have the wit of the Thin Man series, but undeniably makes up for it in charm. While I watched it, I thought for sure Powell was carrying on an off-screen affair with Arthur. My friends thought the same. This is one film where I wish I could step back in time (to schmooze and lock lips with Powell!) There seems to be no end to his lovable playful smirks! Powell's character, Lawrence Bradford, is probably the closest thing to the "perfect man." Okay, this is sounding way too gushy, but I can't help myself.

... and yet it still came out pretty entertaining. It is obvious that RKO is trying to imitate the Thin Man series over at MGM, and they did pony up the money to borrow William Powell from MGM as the sleuth/surgeon in this one - yes I said surgeon. The thing is, this one has almost exactly the same skeleton of a plot outline as RKO's "The Star of Midnight" from the year before where Powell is the sleuth and Ginger Rogers is the girl that from the beginning claims she is going to marry him. This film even borrows the music from "Star of Midnight".

This time it is Jean Arthur as the ex-wife who is awfully chummy with Powell's character, Dr. Bradford, considering they are divorced. What caused the break-up? Another man/woman? Money problems? Bored with each other? Nope. Just that the ex-wife involved the doctor in all of her murder mysteries to the point he was more her co-writer than doctor. Slim reasons for a divorce, thus the chumminess and the easy camaraderie.

Paula Bradford comes to town on a visit just after a jockey has dropped dead as he was about to win his race. Paula uses a visit from the horse's trainer, Mike North, who believes the jockey was murdered, to get Dr. Bradford involved in a murder case AGAIN. Now overall this film is great fun. One of the problems is that the great Jean Arthur is really miscast as the ex-wife. All the best qualities of Miss Arthur, earthiness and toughness, aren't allowed to do more than peak through with this stilted rather goofy character.

Also, the story gets quite confusing to the point that it does hold your interest if you can keep pace with it. Also, casting James Gleason, usually the smartest guy in the room, as a cop that can't see that Dr. Bradford has been obviously set up for a second murder for which he had no motive and no weapon just seems outrageous. Even as Dr. Bradford worries about being arrested for this murder, it is impossible to join him in his fears because the set up is just so apparent. Oh, and how do you further confuse an otherwise confusing story? Cast five actors with pencil-thin mustaches that all look the same!

And yet it's worth a look, because of the stars, because of the pace, and because of the rather outrageous ending. I'd recommend it.