Le poignard mystérieux

Fast talking lawyer Pat O'Brien sets out to do a job—on the level, but only for the money, it seems. The "job" is fighting the highway monopoly controlled by smooth talking crime boss Edward Arnold. Broderick Crawford is O'Brien's law partner and pal; they set out to take down Arnold and his empire.

Sounds like a solid drama, but…soon silly girl singer Ruth Terry is telling O'Brien "I like you" at a party. He half-heartedly discourages her enthusiastic advances on him, and he doesn't quite believe that she's eighteen years and two months old, as she says; however, she persists in chasing him around for the rest of the movie, wearing down his resistance and distracting him from the real plot—

A woman is murdered and the few clues point toward O'Brien. Who really did the murder, and why is O'Brien being framed? –There's the mystery O'Brien has to sort out, with assistance (and frequent interference) from partner Crawford, from the kid singer Terry, and from the cops—who may be Arnold's stooges.

Bizarre humorous touches distract somewhat from the mystery plot; for example, the scene in which all of the suspects remove their shoes to be examined for blood stains, and Edward Arnold has an embarrassing hole in the toe of his sock. Terry and O'Brien giggle madly…even though the corpse is still lying in the next room. It just doesn't quite fit.

I would have liked to see more of three other women characters: Claire Dodd as an early victim (intimate friends with more than one suspect), Eve Arden as O'Brien's secretary (smart and ready), and Phyllis Brooks as Arnold's daughter (conscience crying out as she learns about her father). All are very good in too small roles.

We do get plenty of Ruth Terry…who is actually very good herself, except that hers and O'Brien's relationship never really convinces, the chemistry never really gels. Unfortunately for her, she comes across as rather annoying.

One truly chilling moment involves a discovery at a desk—a shock that is totally unexpected and perfectly executed.

Otherwise, the plot is passable, the cast a bunch of pros, the dialog zippy—and the romance and humor a little oddball. Fun—just a little unsteady.

Macroscopically, this movie is surprisingly entertaining, with crackling dialogue and charming performances by O'Brien and Crawford. Under closer scrutiny, the plot really doesn't hold up, nor do a number of character's motivations, but O'Brien's effortless cool covers a multitude of sins and the THIN MAN comparisons are apt. Overall, an underrated old-fashioned big ensemble good time the way they used to craft them back in the 40s. This isn't as good as Garnett's THE POSTMAN ALWAYS RINGS TWICE and you won't gain much insight into the human condition or require a handkerchief, but you will laugh and you will be amused. One of the highlights from a 50 - pack of public domain crime dramas called "50 Dark Crimes" currently available for super cheap (how I discovered it), and like that inexpensive offering, worth far more than the price of admission.

The overriding story of the film - the murder of a well-known party girl (Claire Dodd) whose body is discovered by crusading attorney John Webb (Pat O'Brien) who also happens to be a former boyfriend - and things don't look good for our hero who is instantly murder suspect number one. Furthermore Webb is trying to get the goods on graft king Vincent Cushing (Edward Arnold). Webb thinks Cushing did the murder and set him up to take the fall, and thus spends the rest of the movie trying to clear his name. The movie is well-paced and everything is moving along in an interesting fashion when every few minutes - like interference on a radio channel - in pops Ruth Terry's character and her incessant yammering. She has her eye set on Webb from the moment she sees him although she says she's 18 and he looks old enough to be her father. She lies about her background, so why couldn't she be lying about her age? If Webb were smarter he'd be equally as worried about getting involved in a statutory rape rap as he is murder. What girl of 18 gets dressed up in a revealing gown, goes to a party full of known hoods, and then is shocked when one puts the moves on her? Or doesn't have the sense to NOT take her dress off in front of a grown man when she's alone in his apartment? She's either 13 or she doesn't have all of her marbles.

I waste so much time on Terry's character here because it distracts from what could have been a very good film. I took off two stars just for the annoyance factor alone. Other than that - and its a big "that" - the film is a great noir with an interesting twist at the end. Robert Osborne said that director Tay Garnett became ill during filming and Walter Wanger had to finish the film out himself with Garnett very upset at the end result. I can only guess that Mr. Garnett's objections were the same as mine.

Frank Presnell's first of three crime novels, "Send Another Coffin", is the basis for this film, completed the year following publication of the original, featuring flinty Ohio attorney John Webb (Pat O'Brien) with his wife Ann (Ruth Terry), the duo patterned somewhat upon Dashiell Hammett's Nick and Nora Charles, although Webb is less suave than Nick and more eager to stir political pots. A corrupt state politician, Vincent Cushing (Edward Arnold), is the principal target for Webb's reforming urge, and when Cushing's mistress Alma (Claire Dodd), erstwhile flame of Webb, is murdered, nearly all of the major characters seem to have a motive, including Webb, who faces most of the heat from the homicide investigation although he perceives himself to be "slightly honorable" when compared with those about him. The work includes a strong comedic element along with its murder mystery and socially conscious themes. Vivacious Terry, with her patented energy and spirit, steals the film in what she states is her favourite role, a part for which she is promised by producer Walter Wanger and director Tay Garnett that the former night club singer/dancer will be spotlighted in a musical specialty number, and that she is, one that is perfectly woven into the screenplay, this while under personal contract to Howard Hughes who loans her to Wanger for this production. A cardinal pleasure inherent with film reviewing is discovery of works that have not received an amount of recognition that they deserve, and that is the case in this instance, for it is a piece that includes among its attributes sparkling dialogue, skillful acting and, especially, that mastery of narrative pace and rhythm that marks the best efforts from Garnett who here cunningly blends details for his established mise-en-scène within the script, as is his custom. Even without his foremost mannequin, Marlene Dietrich, Travis Banton's gowns are noteworthy and there is a strikingly illustrative score from Werner Janssen.

What a surprise. This film, which showcases the under-remarked comic skills of Pat O'Brien is a genuine treat which belongs right up there with "The Front Page" (with O'Brien and James Cagney) its remake "His Girl Friday" and the best of the 'Thin Man' series. Director Tay Garnett is probably best known for directing some of the better series in the early days of television ("Bonanza", "The Untouchables" "Naked City", "Rawhide")and at least two film classics ("The Postman Always Rings Twice" , "A Connecticut Yankee In King Arthur's Court"). After seeing this film one can only guess that the reason his name is not as well known as that of Sturgess or Capra or even Wilder is that he moved to television at a time when that medium was seen as a real threat to the film industry and thereby encountered some resentment. How else to explain the fact that "Slightly Honorable" is not mentioned on more 'Best' lists?

O'Brien is probably more likable (and believable as a semi-romantic lead) here than in almost any of his other films. Always effective in serious dramas he reminds us of how versatile some of our greatest stars of middle period American cinema (Cagney, John Wayne, Katherine Hepburn,Clark Gable) were-switching effortlessly from drama to comedy in a way that seems to be beyond the scope of some later stars.

Much the same can be said for Ruth Terry who would own this film were it not for the strength of her co-star's performances. Terry retired before she was 45 years old. By that time she was reduced to bit parts but a look at her work here will have you shaking your head in wonder at how that happened.

A great performance from Broderick Crawford and standout supporting turns from Eve Arden and Claire Dodd (among others) crackerjack pacing and set design,snappy clever and first rate dialogue combine to make for a wonderful hilarious film that deserves a wide audience and a restoration treatment to enhance the sometimes muddy soundtrack and occasional glitch in the currently available print. Do NOT hesitate to rent this one.

By the way, contrary to IMDb's spell checking feature "dialogue" is NOT a misspelling. Look it up.