The Preview Murder Mystery

The star of "Song of the Toreador" receives threatening messages that he will not survive the preview screening of the film. The studio publicist works with the Director, the Producer and the police, to discover who is behind the threats.

Rather good mystery with a pacy plot, good chemistry between Reginald Denny and Drake - Drake plays an astrology obsessed person. Denny wants to marry her but she says their stars don't align. This is an entertaining mystery with a fine insight of film making of that period. A nice look at paramount studio backlot- the camera angles are great, capturing things nicely.

This 1936 film from director Robert Florey is a return for him to the field of dark films, a path he almost started on early in his career. Florey did Murders in the Rue Morgue in 1932 as a consolation for being dropped from Frankenstein. In 1935 he directed The Florentine Dagger, another thriller. The Preview Murder Mystery was his most taut suspense film up to that date.

It is almost an ensemble piece with Reginald Denny and Frances Drake as the romantic leads, but there isn't much time for romance in this 60 minute murder mystery. What stands out most here is the editing. There are simply a TON of shots in this film. I don't think there is a single shot that lasts more than 10 seconds. Florey gives us every angle and many points of view for each scene and there are many short scenes so that if you get up to go to the bathroom, you'll miss a good chunk of the details. It's a pretty simple plot, but with many twists. An actor is threatened to be murdered before the preview of the movie he is shooting. After the screening he is found dead and the actress and director are next on the murderer's wish list.

Ian Keith puts in a nice turn as the suspicious director. Rod LaRoque is good early as the doomed lead actor. Gail Patrick basically gets to look beautiful and Denny and Drake make a decent team, but they just don't have too much to do. This is really a director's piece and Florey makes the most of all of his opportunities. He even gets to do a mock horror film scene late in the movie that looks good, and there is a comedy scene of another film being shot on a different stage with Chester Conklin in a cameo. Curios they are, but these are gratuitous, and unfortunately almost kill the pace of this movie just as we are about to reach the conclusion. All in all though, a nice way to spend an hour for classic mystery buffs.

Rod Larocque is starring in the sound remake of one of the studio's great silent pictures. The original starred Conway Tearle and his wife, Gail Patrick, and was directed by Ian Keith. Tearle was bound for superstardom, but an accident claimed his looks, and shortly afterwards, another his life. The remake likewise stars Miss Patrick and her second husband, Mr. Keith, directs

However, Larocque has been getting threatening notes that he won't live to see the new picture. When he dies during the premiere, it turns out to be poison... and then, during the production of her next picture, a prop gun aimed at Miss Patrick turns out to hold real bullets.

It's a pretty good murder mystery, directed by Robert Florey, showing off the Paramount studio using a lot of Dutch angles. Florey spent his career as a good journeyman director, always trying out interesting shots, so much so that they dominated his pictures... and he never got much higher than the programmers. Paramount's wealth of talent, in front of and behind the camera helped make this a very watchable movie, with Karl Struss as DP, and a cast that includes Reginald Denny, George Barbier, Thomas Jackson and a wealth of faded but still skilled performers. Had this been a production at Fox or RKO or one of the minors, this would have been a top-grade A picture. At Paramount, it was just another interesting release.

The only disappointing aspect of this wow of a movie is that (aside from a brief shot of Charlie Ruggles which I suspect is a newsreel clip) we don't see any guest stars. But perhaps it's just as well. There's really no time for them. And there's always a danger they could slow up the action which moves like the proverbial express train from start to finish. Not only does director Robert Florey keep the wittily suspenseful screen-play sparking on all six cylinders, he does so by using an extraordinarily large variety and number of camera set-ups. Most shots are held for only a few seconds and very few (perhaps only five or six) of the set-ups are repeated (which makes for brilliant film-making, but it's also quite extraordinary).

By "B"-picture standards, production values are right out of the box. Not only are many of the multiple sets absolutely crowded with extra players but Florey has invented lots of inside gags. As might be expected he has used some of his technicians to augment the crowd, but has enjoyably switched their roles. Thus the assistant director Fritz Collings appears on camera as the sound man, while director of photography Karl Struss has been demoted to camera operator and film editor James Smith can be glimpsed as an assistant in his own cutting-room.

Needless to say, the whole movie was lensed on "location" inside Paramount Studios itself. These are the real sound stages, this is the real back lot, those are the real Paramount gates. That's why most of the action takes place at night. The movie had to be lensed when everyone else at the studio had gone home (which is probably the main reason we don't see any guest stars).

It's obvious that Florey had a lot of fun making this picture. I love his "horror" take with the bat man made up like the somnambulist in Caligari explaining to the director that he's actually scared silly because he's a vegetarian. And notice that director E. Gordon Smith is handed some Ernst Lubitsch mannerisms including peering at the action through the cameraman's viewing glass (actually borrowed from Struss for this occasion. He always wore it. He had it looped on a long cord around his neck).

The screenplay offers not only a tingling, fast-moving, hair-raising mystery thriller but a whole gallery of fascinating characters creatively brought to life by a group of surprisingly charismatic (if second-string) players. Oddly top-billed (her role is not only small but comparatively unimportant) is the now-forgotten Frances Drake who was enjoying a brief run as a leading "B"-movie star at the time. She's not only extremely pretty but delightfully personable, so the surprise is not that she's top-billed in this one, but that her reign extended for only five or six years.

For once, Reginald Denny does well by the hero spot and doesn't over-do the comedy. It's the stunning Gail Patrick, however, who walks away with the picture's acting honors, strongly supported by Ian Keith, George Barbier, Thomas Jackson, Conway Tearle and the little-known Jack Raymond who has one of his largest roles here in a largely uncredited 100-picture career.

And now a final few words about the marvelously film-noirish photography. Critics (both contemporary and present day) as well as Struss himself regard this as one of his finest films, so it's doubly good to see him on camera here, both artistically and histrionically (I think he even has one word of dialogue: "Yep!"), although I should mention that Struss had his own camera which he certainly used for the studio exteriors. I don't know for sure whether the bulky Paramount camera he's pretending to operate was actually used to photograph any scenes in the movie at all, but I would say probably not. The camera-work is so fluid it seems to me that Struss' own more portable camera with its turret lens was used throughout.

Paramount changed its name on the big arch to Major Attractions as the name of the studio in the film.

Their latest film is a remake of a silent, The Song of the Toreador. The previous star of the film was a man pictured wearing a turban, who died before talkies. Gosh who could he have been modeled after?

The talkie promises to make the lead, Neil Dubeck (Rod La Roque) a huge star. But Neil is distracted because he is receiving notes predicting he will be murdered before the end of the preview.

In a way, the murder is a blessing as after his performance, he would have had to change his name and move to Ecuador. His singing sounded like a billy goat and his body was so stiff his costar, Gail Patrick, could have pushed him over with her index finger.

With that murder, one other, and the leading lady's life threatened, it falls to the studio publicist (Reginald Denny) to attempt to catch the killer by having him or her step into his office and trip a camera flash.

I think Reginald Denny and Gail Patrick were slumming. I didn't like Rod LaRoque as The Shadow and I didn't like him here.