Shadows on the Stairs

Keeping in mind that this movie is totally American and the UK had been at war for quite a while, most people everywhere were looking for something to enjoy and smile about. Those who critique this movie as lacking some action/adventurous mystery just don't understand the feelings and thoughts of the early 1940s when the US would be facing Pearl Harbor in just 9 months from this release. And for the Warner Bros. to send a kind and light-hearted film to the UK when they were facing bombs and death was a good thing. Some of the critiques here went as far as criticizing the actors - all of whom did their jobs very well. But then I'm familiar with those who think they know more than they actually do know. The bumbling police, the silly portrayal of the women were all designed in the story to bring that light-heartiness to the viewer. I'm surprised there wasn't a cute Scottish Terrier running around. So if you like a Light movie without the blood and guts as some people here wished to have seen, this is a pleasant stage play turned into a cute movie for a hour's time.

Nearly everyone has something to hide in the London lodging house that is the setting of this enjoyable thriller. Even the young writer (Bruce Lester) who is a central character is not what he seems—posing as aspiring but not yet successful, he is in fact (we learn early on) an already popular playwright living incognito in a setting that he thinks will provide him with material for his next work….a thriller.

The other lodgers are embroiled in various political intrigues, secret relationships, and hidden resentments and jealousies. Plot elements include a knife hidden inside a bedpost; a heavy box of something mysterious; figures coming and going at odd hours, including one whose face is hidden beneath a shawl; and a portable chess board and pieces. Also worth noting: the characters all seem familiar with the play "Charley's Aunt" when it is mentioned.

The one character who has no secrets, no suspicions, is the young woman (Heather Angel) who naturally takes a special interest in the young writer; to her, the house is just a home and "A mouse in the pantry's the most exciting thing that's happened around here since I can remember."

Mary Field is excellent as Phoebe St. John Snell, the chatty single lady who has a vivid imagination.

Mystery purists may not like the cute ending scene; personally, I found it rather charming. Overall, it's a fun little picture—plenty of plot (but not too much) packed into 61 minutes.

Rarely in films do we find a murder plot that misdirects viewers with the finesse of "Shadows On The Stairs". What a delight. Beginning with one particular early scene, the plot cleverly leads viewers down the garden path. And a second twist delightfully compounds the misdirection.

There are eight major characters. At least one is murdered, leaving seven suspects. I was sure I knew who the killer was. I was dead wrong, owing mostly to the shrewdly written script.

Most of the action takes place inside a multistory boarding house. People come into and leave rooms rather often. And the script is quite talky. The film has the look and feel of a stage play, except for the first few minutes. The title is a bit misleading, implying noir lighting that doesn't really exist in the film. There's not much in the way of spine-tingling suspense. The main selling point is the stunning ending wherein viewers learn how they have been duped into making multiple false assumptions. Clearly, that upsets some viewers. But one cannot deny that the misdirection is clever.

B&W lighting is acceptable though conventional. Background music is a tad manipulative, which is consistent with many films from that era. Casting is fine. Acting inclines toward the exaggerated, yet that is subtly consistent with the underlying story concept. The film does not take itself too seriously, and it should be watched as slightly comical.

There's no great thematic depth to the story. The appeal lies entirely in the film's entertainment value. But the surprise ending makes "Shadows On The Stairs" one of the better whodunit mysteries from the 1940s.

The second line members of the Hollywood British colony got together and were cast in this B picture murder mystery. Miles Mander and Frieda Inescourt own a boardinghouse in London and there are a lot of strange doings happening at their establishment. Too bad there was no butler in the plot lest the solution be easy.

Best in the cast is the prim and proper spinster lady Mary Field who is most self conscious about being interviewed by the police in the persons of Lumsden Hare and Charles Irwin. Turhan Bey casts a mysterious presence as an Indian student boarding there who may be up to no good. India was not yet free from Great Britain and not everyone followed Gandhi's philosophy of non-violence.

For the solution in Shadow On The Stairs a knowledge of the American theater is required. The audience in 1941 would have figured it out immediately. But the solving of the mystery is not the end of film.

Shadow On The Stairs ain't the Maltese Falcon, it sure has a whole lot less values in it. But it's a competently made film and I'm sure complimented the Falcon well as a B film in a double feature.

Residents of a boarding house become suspects when one of the owners is murdered, the maid goes missing, and a mysterious easterner is involved in shady dealings. Romantic triangles, smuggled boxes, and a strange veiled lady complicate the plot.

Average whodunit, very much in the light-hearted style of the time. There's the amateur sleuth, the ingénue, the comical cops, and a collection of sinister and not-so-sinister types. Unfortunately, the direction lacks imagination or style. The dense, talky script is filmed in pedestrian fashion adding little to the stage play origin. Some suspense builds in generic fashion as we wonder who killed Joe. However, trying to cram the many story subplots into an hour's format squanders narrative focus, thus weakening suspense. Heather Angel as the ingénue Sylvia adds much needed spark, while Mary Field as the spinsterish Miss Snell manages a degree of pathos. The unusual ending is, I think, a matter of taste. All in all, as a mystery, the programmer doesn't live up to its opening scene, but might do for a rainy night.