Le Cadavre masqué

Lloyd Nolan's Michael Shayne is a refreshingly human private detective, jumping to wrong conclusions and once not even being able to say his own name correctly (you'll see why). The two policemen assigned to the case are delightfully dense.

Shayne is within hours of being married when he and his bride-to-be hear a scream that he investigates. He has to spend the rest of the movie not only attempting to solve the crime but placating and putting off his impatient fiancée. Secret passageways and trapdoors, people who have changed their identities, magicians' sleight of hand, and a hilarious singing-telegram scene add to the tasty mix.

I really enjoyed this and found the humor a welcome addition to the murder investigation.

Economical B movie that has a snappy pace and some terrific lines. Among the best "The stork that brought you should have been arrested for dope peddling!" Lloyd Nolan is perfect in the lead, attractive but believably an everyday guy that you'd run into as a private detective. Always a reliable supporting player whether cast as a heavy or a hero he gets a chance to hold down the star spot in this. One of the great things about the old lower budget films was the opportunities it presented for the quality secondary actors in A level productions to play parts with a bit more variety. William Demarest and Henry Daniell play their stock characters but as always extremely well and add zing to the picture. Something that probably came and went without much fanfare at its release this is a snappy little pic that will please most viewers.

But it really is!

This is a fast-paced comedy/mystery starring Lloyd Nolan as Private Eye Michael Shayne, attempting to solve a double-murder. Nolan seems to figure everything out before the bewildered police inspector, played by William Demarest. The banter between Nolan and Demarest is great. Demarest rolls with the punches, getting conked on the noggin twice, and even getting a chair wrapped around his head. Mary Beth Hughes appears in a subplot as Shayne's fiancée, but their wedding plans keep getting interrupted by Shayne's pursuit of the killer (whose identity did surprise me). Milton Parsons has a juicy part, and Henry Daniell shows a flare for slapstick. Mantan Moreland is hysterical, and I do hope that he laughed all the way to the bank given the roles he was given during his career. Don't think too hard about this one, and you'll have a good time.

I have to admit, though, that just once, it would be interesting if the dumb police inspector actually turned out to be the killer. Now that would be a real surprise. And no, I don't think I'm spoiling anything by saying that.

Dressed to Kill (1941)

There are several movies by this name, and this is one of the lesser of them, a comic detective yarn with an improbable murder and some fun settings. Key to its success--because it isn't half bad--is the leading man, Lloyd Nolan, who has an ease and likability that makes his scenes fun to watch. And he's in every minute of the movie.

This is one of a series of Michael Shayne movies (that's the detective's name), and the first seven of the thirteen movie versions star Nolan. It says something that I'd be willing to see another, for sure. But I think this is a television level drama (before t.v., but that kind of budget and level of intensity). These aren't like the great detective movies of the 30s and 40s, and not a bit like the noirs of the 40s and 50s, just to be clear.

One of the surprising high points is the script--very witty, and unrelentingly clever. Nice

Expect very good production values, a decent supporting cast, and a kind of over-convoluted Agatha Christie kind of plot with lots of characters that are really hard to get to know in just over an hour. In the big picture these are a little like the Sherlock Holmes or the Mr. Wong movies with Boris Karloff. Fun, but no great shakes.

I sat bolt upright at the end of this movie because it looked as if there was a serious error in the credits. No, I thought, I must be wrong. But I'm not. The movie's streaming on Netflix, so you can see for yourself: 20th Century Fox reversed the names of the two African-American actors who provide some of the brightest points in this bright little movie.

They often entertained as a team, and in this movie Mantan Moreland and Ben Carter play two theater janitors who first appear doing a sweet backstage dance sequence with their brooms while Mary Beth Hughes (too little of her in this movie) sings on-stage but off-screen. I loved it that the filmmakers ignored the girl singer for the greater talents of these two hoofers. Their characters are called Rusty and Sam, with the bigger part going to Rusty, who is played by Moreland, the more famous of the two. But in the final credits, the names are reversed with the roles, crediting Ben Carter as Rusty. Inexcusable. I doubt it ever happened to the Marx Brothers, or even the Ritz Brothers.

Yet IMDb has it right in its Cast and Crew listing. I find that impressive.

The movie's impressive, too-- a B movie with a ridiculously complicated plot with a lot of theatrics, quick-witted dialog, and sure-footed performances by Lloyd Nolan, William Demarest, Henry Daniell, Moreland and Carter, and Mary Beth Hughes-- of whom, as I said, there was far too little screen time. Far too little of her in movies in general, in fact.