Charlie Chan e a Macumba

Okay, I must admit that I generally DO like B-movies and series films from the 1940s. I like to watch The Falcon, The Saint, Sherlock Holmes and even Charlie Chan--they are escapist fun. Predictable and occasionally poorly written? Sure,...but still fun. So, despite my love for the genre, I am still in complete shock that so many people gave this ordinary little film a 10 on IMDb!! Come on, people, this is NOT "high art" or even an especially memorable film and the IMDb ratings become irrelevant if such a film is given ridiculously inflated scores! I would really LOVE to know what scores the people that give this movie a 10 gave to OTHER films. Do they give them all 10s or are they scoring films like GONE WITH THE WIND, BEN HUR, CHARIOTS OF FIRE or ORDINARY PEOPLE with lower scores?! I'm just dying to know.

Okay, as for the movie itself, it's pretty much what you'd expect from a later Charlie Chan movie from Mongram Studios. Unlike the original Chan movies (which featured higher production values, better scripts and Warner Oland), this movie was made by a "Poverty Row" studio (Monogram)--known for exceptionally low budgets and a quick turnaround on the films (completing many in just days--regardless of the aesthetics). While a little more interesting because of its plot involving phony psychics and mind control as well as an unusual appearance by one of Chan's daughters instead of the ubiquitous #1, 2 or 3 son, it is still an essentially low-budget formulaic film. And, as usual, Chan is supported by the moronic antics of Mantan Moreland--a Black actor sure to offend many modern viewers due to his stereotypical characterization (as a scared and rather dim-witted Black man as "comic relief"). Despite this MAJOR problem with all the Monogram films, I try to overlook it and understand it was typical of the 1940s (sadly). The film, while occasionally very interesting, isn't well-written or produced and probably will satisfy Chan fans but fail to convince others of the merits of the series.

This is my eighth review of a Charlie Chan movie in series chronological order on these consecutive days. In this one, someone is murdered during a séance of which one of the witnesses is Chan's daughter, Frances (Frances Chan). Oh, and the newly hired butler is one Birmingham Brown (Mantan Moreland)...So instead of one of his adult sons, here Charlie is assisted by his lovely daughter who doesn't get any wisecracks aimed at her unlike her sometimes bumbling brothers, just compliments on her beauty and brains (though hearing the actress occasionally repeat others' lines can be somewhat annoying). With the mystery treated a little more serious here then the previous one called The Chinese Cat, Moreland's antics are also not as frequent but you still get plenty of it in the beginning and the end. As I've said before, his characterization borders on a stereotype that wouldn't do in today's social atmosphere but if you just think of him as a harmless clown that wouldn't hurt anybody, his shenanigans should be amusing enough. Anyway, I highly enjoyed Black Magic (or Meeting at Midnight), and if you love Charlie Chan, you'll probably enjoy this. P.S. Ms. Frances Chan actually appeared as the youngest Chan daughter in a previous entry, now considered lost, called Charlie Chan's Greatest Case. And supporting player Geraldine Wall-who's Harriet Green here-is another one in these series entries I'd like to cite as being born in my birthtown of Chicago, Ill. and that she was originally cast as Dolly Tate in the movie version of Annie Get Your Gun when Judy Garland was cast (in fact, I have a CD of the soundtrack album with her voice tracks on maybe one or two songs) but was replaced by Benay Venuta when Betty Hutton replaced Ms. Garland.

Nervous and bug-eyed Birmingham Brown (Mantan Moreland) "assists" Charlie Chan and his daughter at the murder investigation in the home of a woman who has a séance business. During one of her sessions, a man is killed, and one of six people at the séance table appears to be the murderer.

Moreland was a great comic actor with tons of talent, and he is one of two reasons to watch this film. The other reason is the high-contrast B&W lighting, that reminds me of some 1940's noir films.

Other than Moreland and the film's lighting, "Black Magic" has little to offer. With a runtime of just 67 minutes the story is razor thin and poorly developed, suggestive of a sketchy, hastily written screenplay. There are several plot holes, and the killer's modus operandi is rather far-fetched.

As in many Chan movies, production design is minimal. And the sets here are a little too familiar. The entry hall in the séance house looks exactly like the entry hall used in the Chan movie "The Jade Mask". And the elevator set here looks like the elevator set used in the Chan movie "The Scarlet Clue". But Monogram Studios had the reputation for being cheap. And in this film ... it shows.

Even so, I can see how this film might have appealed to viewers in the 1940s, particularly as a Saturday afternoon matinée feature. In its time it probably was delightfully entertaining and a welcome diversion from the grim business of WWII.

This late-entry Charlie Chan movie gets marks simply for the entertainment, not for a deep-thinking suspenseful "whodunnit." It's just fun to watch with an always-smiling daughter (played by Frances Chen) replacing number-whatever-son and the eyes-popping-out-of-the-head Mantan Moreland adding humor, although of his humor is a bit stupid (and insulting to black folks, I'm sure). However, Moreland is a likable guy so it's hard to get annoyed at his silliness.

The story is a familiar one of the day, about the occult (seances) and, thankfully, another that exposes the mediums as crooks.

These Sidney Toler-Mantan Moreland collaborations, as opposed to the early Warner Oland/Charlie Chan movies, replied more on comedy and gimmicks rather than brains, and once you accept that, you just go along with an entertaining hour of lamebrain fun, especially when Chan starts to put people down with his sarcasm.

Average Monogram Chan potboiler, in the Mongram House with some of the Monogram staff - but then, I've always liked this one! The surviving print (in Chanthology) is in excellent condition, lending a nice overall atmosphere to the proceedings and helping a lot in following the story. One of the things that always makes me smile watching Monogram's is that the plots usually involve dispensing with some or a lot of accepted social conventions - they weren't meant to be analysed and mulled over decades later. In this Moreland and Frances Chan are in and out of the house like yo-yo's, and creeping all over the place unseen - it wasn't their house but as in a lot of Monogram's you weren't supposed to dwell on ownership issues which obstructed juvenile frisson or slapstick.

At a séance a man is apparently shot dead with what turns out to be an invisible bullet, as Charlie jocularly puts it. The quest is on to find out which of the clients around the table did it and how. The way in which Charlie solved it is depressingly familiar and trite, but everything was wrapped up nicely anyway. As usual Moreland was acting scared witless, in fact with "gremlins galloping up and down his spine" this time - a fantastic image! Frances Chan couldn't act very well but she certainly looked like she was enjoying the experience of making a movie with her constant smiles - her sunny disposition seemed to be rubbing off on Toler too who was enjoying his own aphorisms more than ever.

Overall, nice to watch once in a while especially in a Chan season. And I prefer big shoes to big corns.