Dans la cité obscurcie

Maybe it was the play that forms the basis of this tale, maybe the return to previous screenwriters, or a new director, or whatever…but this is one of the weakest Sidney Toler Chan films done at 20th Century Fox. Not much of a mystery – more a propaganda film about the coming war and the need to beware of traitors who would sell and ship arms to the enemy and who need clearance papers that disguise munitions as fruit.

One of the few films without one of his offspring (he admits to having 5 sons here). Chan plays instead off Marcel, secretary and godson to the Paris Chief of Police. Audiences were probably being conditioned to regard the French as future allies; hence Marcel explains that he is really the son of the Bucharest Chief of Police – thus maligning Romania instead. Harold Huber has done a much more subtle and effective job at comedy in the Chan series. Pedro de Cordoba does splendidly as a dignified gentleman's gentleman Antoine and WWI veteran who sees his son off to the next conflict. AMC gives second billing in this film to Lon Chaney, Jr., but in reality his is a bit part preceding his more memorable appearance in `Of Mice and Men' the same year. He must have needed the work.

There are enough clues, misdirections, and suspects to keep the outcome up in the air but we are not made to really care. The murdered man deserved to be murdered and who did it matters little. There are sufficient clues for an observant viewer to arrive at the solution along with Chan.

Not one of the better or even good Chan films. See this only to round out the series. As Chan said in this film: `To describe bitter medicine will not improve its flavor.'

Even after watching it a couple of times, this - admittedly unique - entry in the 'Charlie Chan' series still looks like a somewhat strange and a little bit inappropriate mixture of a 'usual' murder mystery and an early WWII flag waver. It starts like a Newsreel about the dramatical political developments in Europe; and it is announced that on September 28, the whole city of Paris has to remain in darkness because of the possibility of a German air strike.

The next thing we see is a reunion party of secret agents from WWI, to which M. Romaine, the Prefect of Police, has invited his old friend Charlie Chan; and they drink a toast to peace, hoping there'll not be another war soon...

But at the same time, there is a spy ring of an enemy country in full activity: Charlotte Ronnell arranges with sinister Belescu that a cargo full of French weapons manufactured by another enemy spy, Petroff, will sail out the same night to get into the enemy's hands before an embargo will be imposed; but Belescu tricks them, and they're left without the necessary papers. And in another part of Paris, Petroff's innocent former secretary Tony Madero wants to flee the country in order not to be accused as a member of the spy ring, and his wife Marie promises him to get him a ticket and a false passport from shady M. Santelle - but she's got to raise a lot of money, and her only hope is Petroff...

... And a few hours later, Petroff is found shot, discovered by his butler Antoine, a veteran from WWI who has just sent his young son to the army; and so, while the soldiers are leaving for a possible war, Charlie and his friend's godson, dopey inspector Marcel (played once more by Harold Huber, who specialized in playing nervous, clumsy Frenchmen) investigate the Petroff murder, looking for clues like a camellia lying next to the body, a smashed window in the cellar, and so on...

Somehow, this mixture doesn't work properly - solving a murder case (even if it's connected to a dangerous spy ring) amid the atmosphere of a city preparing for war is simply somehow like losing one's sense of proportion... And when the case is solved, the film takes us back to politics: Romaine proclaims happily that there will be NO war, because Hitler has just invited the French and British Premiers to a conference in Munich! BUT since the film was released in December 1939, the further developments were already known by that time; and so Charlie Chan can utter one of his wise 'foretellings': 'Beware of spider who invites fly into parlor'...

Always loved Charlie Chan movies, especially with Sidney Toler. He was the first CC I ever saw, as they were always on TV in the 50's. As I got older I appreciated Warner Oland, but Sidney was first. I also realized that the CC films with Oland were better than the later ones.

"City In Darkness", however, was a disappointment, and, as several reviewers mentioned, Harold Huber spoiled the whole show for me. He chewed the scenery and was a grating presence whenever he was on screen. He had a pretty big part, so you couldn't get away from his outrageous overacting and using a poor imitation of a French accent. That, and the final scene was confusing - you had to remember when all the suspects were in the room with the murdered man, which was supposed to be before (or after?) midnight. Too bad, but with a long-lived series like CC's they were bound to come up with a clinker.

One of the few Charlie Chan movies that does not have one of his eager beaver sons trying oh so earnestly to help, Charlie Chan In The City Of Darkness refers to the fact that the well known city of lights is actually in darkness due to blackout regulations. During the course of the film, a breach in those regulations actually saves Sidney Toler's life.

Harold Huber takes the place of the sons here and provides us some comic relief. Huber who normally played oily villainous types must have welcomed a change in casting.

Toler is in Paris ironically celebrating a reunion of intelligence service officers from the last World War as a new one beckons. The film, released in 1939 after war had been officially declared was set in that period in 1938 when the United Kingdom and France went to the brink before capitulating to the Nazis at Munich.

During the first of a Parisian blackout the French prefect of police in Paris is up to his ears in work and just can't get to the murder of Douglass Dumbrille in a timely fashion. This provides his loyal secretary who wants to make his bones as a detective an opportunity. Good thing Huber had Sidney Toler around to show him the ropes.

Dumbrille was one of those international men of mystery and intrigue and being that has a host of enemies who would like to do him in. There's a nice array of suspects including a couple of sneak thieves played comically by Louis Mercier and George Davis who might look good for it as well. In fact with regularity Huber keeps declaring he's solved the case only to have Toler give him another Confucian aphorism about staying cool.

During the course of the film an international smuggling and spy ring is broken up. As for the murderer, a rather different fate awaits him than that of the normal course of perpetrators that Charlie Chan usually brings in.

Toler and Huber keep this film entertaining at all time, a good entry among the Charlie Chan features.

By his fourth film in the series, Sidney Toler had settled into the Charlie Chan role quite nicely. In many ways, this is a fascinating film to watch because of its historical value--as it talks about the events leading up to WWII as well as the assumption that the Munich Agreement would avert war. As a history teacher, this is great stuff--a real insight into Europe on the eve of war.

However, despite the interesting backdrop of Paris as it prepares for war, the film ultimately is destroyed by one man--Harold Huber. This was Huber's third Chan film--having played a French inspector in Monte Carlo as well as a New York inspector. The problem in this film wasn't his accent (here and in the previous film, Huber was fine with his fake French accent), but how incredibly obnoxious and stupid his character was. This film did not feature a Chan child but most of the blundering was done by Huber. This might have worked had they not made Huber five times stupider than any of the Chan children. Plus, Huber came on so strong and was so dominant in the film that you really wanted him to die, as he completely over-shadowed Toler. Because of this, this might just be the worst Chan film that Fox Studios made. Watchable but annoying.