A Shriek in the Night

The film literally starts off with a shriek in the night when a man falls to his death from the penthouse of an apartment building. What appeared to be suicide turns out an act of murder and, much more than the local police force, two competing journalists start looking for the murderer. This is a rather curious film because it's not really the plot which interests you…but only the characters. The actual search for the murderer's identity and his whole motivation is mediocre, but the dialogues between the two journalists are very wit and cleverly written. They constantly try to overtrump each other, which results in scenes that are both funny and emotional. The supportive characters are very enchanting as well, particularly the hysterical housemaid (Lillian Harmer) and the overly shy police-assistant Wilfred. "A Shriek in the Night" might not be the most memorable murder-mystery of the 1930's, but it's definitely worth a look in case you're a fan of classic, primitive cinema.

Though slow-moving and obviously done on a low budget, "A Shriek in the Night" has a pretty good mystery story, and features a good role for Ginger Rogers as a reporter trying to solve the crime.

The story concerns a series of murders committed in an apartment building, in which each of the victims had received a cryptic anonymous letter before their death. Rogers' character goes undercover to investigate, and she finds herself in conflict both with the police and with a rival reporter (Lyle Talbot). The two reporters try to mislead and trick each other even as both are trying to solve the murders.

Most of the story is rather slow-moving, but towards the end things start to happen quickly, and it is worth waiting for. Rogers plays her part well, and there are a few moments of humor.

While overall it is a rather plain movie, if you like old mystery stories you will probably find it worth watching once.

A Shriek In the Night is a fairly good mystery-chiller, even though it is a little slow moving in parts.

Two reporters and the police investigate a series of murders in an apartment block. These include a man being pushed off the top floor penthouse ans a woman who has been strangled. At the time of the first killing, there were reports of a strange hissing sound and we see the outline of the murderer who seems to wearing a gas mask. All is revealed at the end.

Despite it being slow moving at times, this movie is quite creepy, especially some of the scenes where we see the shadows of people.

The cast includes a non-musical role for Ginger Rogers, Lyle Talbot (Plan 9 From Outer Space) and Arthur Hoyt (The Lost World).

A shriek In the Night is a good way to spend just over an hour one evening. Enjoyable.

Rating: 3 stars out of 5.

This is a good mystery-thriller from the 1930s... it's got enough comedy in it to bust up all the drama unfolding on the screen to keep the film more interesting. There is quite a bit of dark humor in this tale.

This is one of Ginger Rogers cutest roles; she plays Pat Morgan a reporter that is getting the scoop on the murders taking place while her rival reporter, Ted Kord (Lyle Talbot), works on the same case to report. These two rivals find themselves working closer together to help solve the crimes while falling in love.

What is big scoop? Who is killing people in the apartment building and why? If you like comedy mystery-thrillers then I would recommend watching this movie to find out the answers - it's an entertaining film.

8/10

A SHRIEK IN THE NIGHT (Allied Pictures, 1933), directed by Albert Ray, reunites Ginger Rogers and Lyle Talbot of THE THIRTEENTH GUEST (Monogram, 1932), in another mystery thriller.

Following the opening credits, the story begins at night with a view of an apartment building (obviously a miniature model) followed by the sound of a scream, an overhead view of a man's body (obviously a dummy) falling down from the penthouse above and landing on the sidewalk below. The incident immediately draws a crowd which awakens a janitor (Harvey Clark), whose residence is in the basement level, to be awaken from the noise to soon come outside to hark the identity of the body as "Mr. Harker!" Enter the police: Inspector Russell (Purnell B. Pratt), whose philosophy is, "I'm an inspector and I can say anything I want," and his assistant, the dim-witted Wilfred (Alfred Hoyt), who arrive at the scene of the crime at 921 Lake Street to investigate whether the death of the penthouse millionaire to be suicide or murder. Russell and Wilfred soon encounter a young girl named Patricia Morgan (Ginger Rogers), acting as Harker's secretary but in reality is a reporter for the Morning News out to get a story following a hunch regarding Harker's association with a racketeer named Josephus Martini (Maurice Black). Also there to out-scoop Pat is Ted Rand (Lyle Talbot) of the Daily Express, who becomes responsible for Pat's getting fired by Perkins, her editor (Clarence Wilson) for accidentally telephoning her own story to Ted, believing him on the extension to be the rewrite man from her paper. Hoping to redeem herself and solve Harker's murder, Pat continues to investigate, only to encounter more killings before she herself becomes the murder victim by nearly being placed in a blazing incinerator.

The supporting cast includes Lillian Harmer as Augusta, the shrieking maid who not only enjoys reading mystery magazines, but adds to the confusion with her bewilderment; Louise Beavers (with surname billed in the credits as Beaver) as the black maid who also shrieks after finding a body of a man named Colby in one of the apartments; and Cyril Ring, among others whose names have gone uncredited.

A mystery melodrama that combines the elements of mystery and comedy, A SHRIEK IN THE NIGHT, which may not be in the higher league had it been directed by Alfred Hitchcock, does have some potential in spite of its low budget values. Lacking background mood music to add to suspense, fine moments include a shadowy figure seen through the silhouette on the wall listening to the telephone extension as certain characters, especially the two main characters, are conversing their thoughts about the Harker case. Maurice Black as the stereotypical Italian gangster and secretive loner also residing in the apartment building, also adds to the mystery.

While THE THIRTEENTH GUEST is better known of the two Rogers and Talbot collaborations, A SHRIEK IN THE NIGHT has had more exposure on late night cable and local public television stations during the 1980s. Because of similarities, A SHRIEK IN THE NIGHT is sometimes mistaken as a sequel to THE THIRTEENTH GUEST. It's interesting to point out that Ginger Rogers uses the same surname of "Morgan" in both films as well as belting out a scream or two when confronted by the unidentified killer.

As a "public domain" title, A SHRIEK IN THE NIGHT has been distributed through various video manufacturers, including one company that used a more glamorous 1940s looking picture of Ginger Rogers on the storage box in spite that this is an early 1930s film that at times, due to sporadic echoes with the dialog and some poor lighting, plays like something right out of 1930. Whether its the film itself or the aging process is uncertain, but restoration in sound and clearer picture quality might help. The fact that A SHRIEK IN THE NIGHT presents a youthful, yet almost unrecognizable and slightly brunettish-blonde Rogers in a "poverty row" production sporting some unattractive gowns designed by Alberta, shortly before her acclaimed popularity at RKO Radio and association with Fred Astaire in those lavish dance musicals through most of the 1930s, her quick and sassy one-liners and love-hate relationship with rival reporter (Talbot) while solving a mystery, manage to keep the pace going during its 66 minutes of screen time.(**)