O Enigma da Pérola

Inspector Oscar Piper (James Gleason) has a baffling new case on his hands when John Carter (Richard Tucker) is found dead in his study by his butler, Kendall (Arthur Aylesworth). There are several suspicious people in Carter's circle. Alice Stevens seems to be the last person to have seen Carter alive; her boyfriend, Robert Wilkins, was seen arguing with Carter by a cop; and there's a mysterious stranger with a French accent whom Kendall overheard speaking with Carter before the crime took place. The further the investigation moves along, the more baffling the mystery, but Oscar has a secret weapon that may help him crack the case: schoolteacher/sleuth Hildegarde (ZaSu Pitts) Withers.

Pitts and Gleason play very well off of one another. ZaSu is really good as Hildergarde, and though she's not as distinctive as Edna May Oliver, she gives her own spin on the character, and comes across a bit dizzy yet intelligent and self-assured, and witty. She appears to be inattentive and "all over the place", but in reality she's analytical and doesn't miss a thing. As one reviewer rightly said, it's Columbo style of misdirection.

As for the mystery, it's quite good, has plenty of twist and turns, interesting suspects, a neat buildup to the murder, and a satisfying denouement, though it can be a little convoluted at times.

THE PLOT THICKENS (RKO Radio, 1936) directed by Ben Holmes, marks the fifth installment of Stuart Palmer's "Hildegarde Withers" mysteries Though James Gleason resumes his Inspector Oscar Piper of the Homicide Bureau, a role he originated in PENGUIN POOL MURDER (1932), followed by its sequels, MURDER ON THE BLACKBOARD (1934), MURDER ON A HONEYMOON (1935) all starring Edna May Oliver as Hildegarde Withers; and MURDER ON A BRIDAL PATH (1936) with the recasting of Helen Broderick as Hildegarde Withers. While Broderick made a fine substitute for Oliver, Miss Withers this time around is recast again, played by the miscast ZaSu Pitts. Having worked together in previous films together, Gleason and Pitts show they make a grand team. Overlooking the fact that Pitts is no Edna May Oliver, and James Gleason gets more screen time than Pitts, THE PLOT THICKENS is actually good enough installment to hold its own.

Starting traditionally with a prologue set in New York's Van Cortlandt Park, plot development begins with the introduction of various characters: Officer Cassidy (Lew Kelly), an astrologist who reads about horoscopes and asking those about their birthday; to Robert Wilkins (Owen Davis Jr.) arguing with his girlfriend, Alice Stevens (Louise Latimer) over her involvement with millionaire businessman John Carter (Richard Tucker). Threatened not to see him again, Alice goes against his wishes by telephoning Carter to meet with her in the park. Discovered inside Carter's Roadster, the over jealous Robert threatens Carter but is stopped by Cassidy. After resisting Carter's advances, Alice leaves only to hear a gunshot and finding Carter murdered. The following morning, Carter's body is discovered seated behind the desk in his library by his butler, Kendall (Arthur Aylesworth). Inspector Oscar Piper (James Gleason) and his assistant, Jim (James Donlan) are called to investigate. As much as Piper intends on solving this case on his own, crime solver Hildegarde Withers (ZaSu Pitts) appears with intentions to help Oscar. Others involved in the case are Marie (Barbara Barondess), the maid; Joe (Paul Fix), the chauffeur; and Theresa (Bodil Rosing), the cook. The Carter case soon gets more involved and interesting as Miss Withers comes upon a priceless Cellini Cup located at a museum leading to more mystery than expected.

For its crisp 67 minutes, the involvement of both park murder and international jewel thievery gets better as the story progresses. Even though Pitts doesn't attempt to carbon copy either Oliver or Broderick's mannerisms of Hildegarde Withers, she manages not to do any damage to her character even when performed in the best Zasu Pitts tradition. Though the series could have ended here, the studio resumed with one last try reteaming Gleason and Pitts for FORTY NAUGHTY GIRLS (1937). That entry may have its moments but not enough to resume for more installments or turn it into a grand finale. (**1/2)

I saw this movie for the first and only time in the late '80's on AMC and have been searching for it to purchase ever since. My son, who was then 6 years old, and I laughed and chuckled throughout the movie at the dry wit, sarcasm and humor. You have to pay attention, because like many other movies of this era, there is a plot (!!) and a true storyline and you have to be listening to catch the sometimes subtle humor, particularly between Gleason's and Pitts' characters. My kids grew up on these old B&W's and can't understand why their friends don't find them entertaining. Since it's not a "splash & gash" movie of today, with no storyline and only loud music and special effects, most young people (and many adults) today would no doubt find it boring. It's not "Arsenic & Old Lace" or "The Maltese Falcon", but it's a very funny old B&W and I have every intention of purchasing it ASAP!

Zasu Pitts holds her own in this entry to the Stuart Palmer mystery series that spawned a movie entry. Hildegarde Winters and Oscar Piper solved murder mysteries in RKO's B movie cannon. Younger than Helen Broadrick and prettier than Edna May Olvier Zasu's Hildegarde seems to have a more social relationship with James Gleason's Oscar Piper. In this movie she has a golf date with Oscar. And in the movie 40 Naughty Girls they are attending a musical when murder rears its ugly head. Regardless of the different actress the movies as whole are very enjoyable. I hope to see them on DVD like Nancy Drew or Mike Shayne. The movies always had interesting locations that are no longer with us. From the New York Aquarium in The Penguin Pool Murders to the public school building in Murder on a Blackboard and out to sea on Catalina Island for Murder on a Honeymoon. A viewer gets a glimpse of history and living, of life and entertainment from a bygone era in Hollywood a viewer is given a look at life and living in a bygone age. p.s. I love to see old time telegram pages splashed on the screen. A Post Script: it is now 2014 and I have The Hildegarde / Oscar Movie set from WARNER ARCHIVES. I now firmly attest Zasu Pitts is the more comfortable 'Miss Withers for me. She sheds the spinster cast transforming the character into a crimebuster (with official police credentials)and masters the'Colombo' guise of detective misdirection by her mannerisms and appearance. She exhibits skills (using a hair pin to unlock handcuffs). Her mannerism of not seeming to pay attention makes suspects underestimate her very keen analytical mind. Miss Pitts also brought more emotion to the role. She shows enthusiasm for the thrill of solving a case.

Its a cliché, I know. But they don't make them like this any more.

And that's for a good, a very good reason: people wouldn't watch them, even those like myself who really value these.

What I'm talking about here are the comedy-mysteries that were pumped out in the 30s like TeeVee shows are now. Many of the same production values are used, in terms of economy and lack of depth. As with TeeVee stuff, the value is partially in the accretion of many similar movies -- in seeing one, you see some harmonization with hundreds of others.

We couldn't make these today because the genre was occluded by noir so far as the tone and by the hardboiled detective so far as story. These have not only changed movies, but the way we think.

So visiting these little films are somewhat like seeing that part of old London that's been turned into a theme park for tourists: something with a nostalgic. uncomplicated charm.

Of these, you cannot do better than James Gleason and the Hildegarde Winters things. These actually have a plot just complex enough to remind you that there is one. It doesn't "play fair" in that the complete solution uses knowledge the audience doesn't have. But in all these, the partial solution is telegraphed early.

I admit, I like the Hildegarde as portrayed by Edna Mae Oliver better in some regards. She's a more memorable character, and the notion of Gleason falling in love with her is as precious a joke as you can find.

But Zasu's got much better comic timing, so this has better jokes verbally.

Watch these, or something like them -- just like you might visit a "restored area" -- because such journeys are necessary to understanding film.

Ted's Evaluation -- 2 of 3: Has some interesting elements.