Um Detetive Apaixonado

I like the Michael Shayne films, and this one from 1940 has humor, a decent mystery, and is generally fun.

Millionaire Hiram Brighton hires Michael Shayne (Lloyd Nolan) to watch his daughter Phyllis (Marjorie Weaver) - she's a compulsive gambler. In fact Shayne moves into the house, to no avail, because Phyllis escapes him.

Shayne fakes the murder of her gambler boyfriend to frighten her, but it doesn't come off, since upon his discovery, Shayne realizes he's been shot. Gun mix-ups, a frustrated and furious police chief (Donald McBride), and the casino owner's wife (Joan Valerie) are all present to mix things up.

The end of this film falls apart and gets a little confusing with people faling down stairs and coming out of closets, but in reality, the lively characters are what keep this film going.

Just about stealing the show is Phyllis' eccentric aunt (Elizabeth Patterson). She and the butler are mystery fanatics - she is a great follower of the "Baffle Book" and is always telling Shayne about different stories. She actually proves to be a great help to Shayne. Patterson is best remembered, of course, as Mrs. Trumble on I Love Lucy.

Enjoyable.

Fun start to a fun series of B detective movies starring Lloyd Nolan as the titular private eye. Probably my pick for most underrated classic detective series. This film, like the rest, is driven by Nolan's screen presence and memorable character actors in supporting parts. Here we have the extremely likable Elizabeth Patterson giving a standout performance. Marjorie Weaver does her best Ann Rutherford. Donald MacBride is also fun. The mystery here is pretty good but the comedy and likable characters are what really works. All in all it's an entertaining picture that moves along quickly. If you're a fan of detective movies from the 30s and 40s I'm sure you'll enjoy this one.

This is a very entertaining series and affords Lloyd Nolan a charismatic part as Mike Shayne, street-wise Private Eye. "Michael Shayne, Private Detective" is better than "The Man Who Wouldn't Die" but not as good as "Just Off Broadway", and it is also the first entry in the series. The usual strong support cast is on hand, and Fox surrounded him with some of the best character actors available. Among them are Douglas Dumbrille, Elizabeth Patterson, Donald McBride and Walter Abel.

As far as the story goes, I think 'planktonrules' hit the nail on the head - the film was cruising along and then dropped the ball with a hastily contrived ending which no one could see coming. But, as I say, you root for the chipper and cheerful Nolan, who carries nearly every scene he's in. The picture also employs one of my pet peeves, that of mixing mystery and comedy, which was often done prior to WW II and which I don't feel go well together.

Recapping; excellent series, passable entry.

"With your nerve, I'd hate to have a tooth pulled!" That's Phyllis Brighton speaking indignantly to Mike Shayne, who has just intervened to keep her from betting a bundle she can't afford on a possibly rigged horse race. It doesn't help minutes later when the nag wins. Michael Shayne, Private Detective was the first of seven Shayne movies starring Lloyd Nolan. He crammed them all in a three year contract period. These are comedy-mysteries, all B movies, made quickly on tight budgets by journeyman directors, writers and actors, then shot out for quick play on the lower half of double bills across America. Sad to say, at least with this one, take away Nolan and we don't have much except nostalgia.

Lloyd Nolan was one of those first-rate actors who had plenty of charm, energy and charisma, with confidence to spare. He always came across as smarter than he might seem, whether he played good guys or, more often, tough good guys. He seldom played bad guys. Nolan didn't have the Hollywood-handsome looks that would convince a studio head to make him into a big star. Because he had such a dynamic effect in most of his roles, I think it probably called for very confident leading heroes to agree to play with him in major movies. He was one of a small group of actors who could be so emphatic on screen because of their personality and style that they became memorable...actors like Chester Morris, Lee Tracy, Paul Kelly and, of course, James Cagney. Some made it big, some faded away. They're all great fun to watch in action. Even in old age Nolan could command a screen. He was 83 in his last movie, Hannah and Her Sisters, and is one of the best things about that fine movie. He'd had 50 years of making movies when he died of cancer shortly after finishing his part.

As Michael Shayne, Nolan gives us a character who is tough, resourceful and cocky. He's usually good natured and usually impertinent. Shayne is a private eye who is impressed with no one. He has a sense of skeptical humor. He runs rings around the cops, who are usually portrayed as dunderheads. He's attractive to the the ladies but never seems to get too romantically involved. In Michael Shayne, Private Detective, the mystery is complex but not, unfortunately, all that interesting. The script has Shayne deal with inconveniences by simply tossing away evidence, his gun, into a field, or stripping down two revolvers to exchange gun barrels, or just lying with a smirk. It's never wise to expect good acting in most B movies, and this B movie doesn't disappoint. Besides Nolan, the only actors who show skill are Donald McBride as the police chief doing his frazzled double takes, Douglas Dumbrille as a confident crook, Walter Abel as a weak crook and Elisabeth Patterson as a crime-loving aunt. These are acting jobs the four of them could do in their sleep. They're skilled professionals, however, and they make their roles interesting. Oh, yes...the mystery. It has something to do with gambling debts, fixing horse races, a love that's too intense and a sleazy gambler.

"Michael Shayne Private Detective" (1940), is an unexpected charmer: a delightful hardboiled private eye movie that will have you chuckling to the very last frame while trying to figure out the murderer before Mike Shayne (Lloyd Nolan) does.

Starring that thoroughly likable no-nonsense pro, Lloyd Nolan ( who appeared in the first seven of a dozen Shayne movies), and set in the last peaceful days before World War II, "Michael Shayne Private Detective" – the first in the series -- is an enjoyable gift box of welcome surprises: a period piece where the cars are both boxy and racy, men's suits are double-breasted and boxy, and the private eyes think best when they're boxed in.

Private detective Shayne, broke as usual, suddenly gets a juicy assignment. All he has to do is nursemaid a spoiled rich girl (Marjorie Weaver), who has the gambling bug and all the wrong friends. Mike's attempt to show her a lesson backfires, and suddenly he's the chief suspect in a murder.

A little thing like that's not going to stop Mike Shayne. Ingenious and inventive, fast-thinking and fast-talking, he has to dodge the cops while finding the real murderer. And now he's acquired a zany assistant, a proper old lady with a surprising taste for blood.

Aunt Olivia: It was the great piano mystery. The body was found under the piano, his throat was strangled with piano wires, the soft pedal was found embedded in his neck, and somebody had completely severed the head from the body. He was dead!

Michael Shayne: (dryly) Oh, suicide, hmmm?

Mike's proficient with both a riposte and a pistol. ("Hey, that brooch is as phony as a mother-in-law's kiss!") And he's not bad with badinage.

Cop: When are you gonna start talking straight?

Mike: Not until my attorney gets out of law school!

Shayne may have a quip for every question; but he's also sentimental, full of malarkey and blarney, whimsical, perpetually broke and a sucker for a pretty face.

Add a batch of odd characters played by a superb supporting cast: Douglas Dumbrille, Elizabeth Patterson, George Meeker, Walter Abel and Irving Bacon; and you've got a screwball comedy with smooth ensemble acting, an ample supply of corpses and a solution that actually makes sense.

An appreciation of Lloyd Nolan: "The actor who was generally credited with 'A' performances in a decade-long series of 'B' films became so good, in fact, that he permitted himself the luxury of turning down work, a privilege that ordinarily falls to far better known stars." -- The Los Angeles Times.