Having Wonderful Crime is a perplexing comedy-mystery. The mystery itself is perplexing because it’s so exceptionally convoluted; three screenwriters and four or five red herrings and the picture only runs seventy minutes. The comedy is perplexing because Crime hinges its comedic potential on lead Pat O’Brien. O’Brien is a skirt-chasing Chicago lawyer who lets rich pal George Murphy talk him into solving crimes. Murphy seems to want to do it because he can’t say no to his girlfriend, Carole Landis. Landis wants to do it because… she’s the idle rich?
There’s a brief setup–including a voiceover introducing O’Brien (whose character appeared in more than just Crime from source author Craig Rice–but O’Brien never repeated the role)–which doesn’t just reveal (after there’s been a shootout) Murphy and Landis are now married (without telling best pal O’Brien) but also a bunch of the players in the next mystery. While on the run from the cops (because O’Brien will be in trouble if they’re found at the crime scene), O’Brien, Murphy, and Landis duck into a magic show. There, Crime introduces Lenore Aubert and Richard Martin as starcrossed lovers working for big jerk magician George Zucco.
After the magic show, which ends with Zucco really disappearing, Murphy and Landis break the married news to O’Brien and head off to their honeymoon. Of course, they end up taking O’Brien along, which is good because when they run into Aubert on the road to the resort–almost literally–they’re able to double register and get adjoining honeymoon suites. Of course, while his new fake bride is up in the room unconscious, O’Brien’s down at the bar trying to make time with Gloria Holden, who gets a thankless part as a professional swimmer.
The initial mystery–before there’s a murder–involves a giant chest, which may have a body in it. Once there’s a murder, the chest is still important, but then O’Brien and pals find out Zucco had played the resort the night before and there were strange goings ons at the resort too. Some involving rich spinsters Blanche Ring and Josephine Whittell, as well as resort manager Charles D. Brown and giant scary porter guy William ‘Wee Willie’ Davis. So many suspects, so much opportunity, so little motive but so many exteriors on the resorts grounds shot day-for-night.
Most of Crime is just O’Brien, Murphy, and Landis walking around outside trying to stumble onto a scene to kill a few minutes.
The film’s humor is utterly perplexing. While Murphy and Landis both occasionally exhibit comedic timing, it’s never when they’re together. There are some nods at slapstick, but usually at its aftermath, like no one thinks they could pull off the gag on screen. O’Brien’s got zero comic timing, so most of Crime’s scenes throwing him into comedic situations–often involving the skirt-chasing–fizzle. They don’t exactly flop, because it’s not like anyone’s trying too hard. Director Sutherland sure isn’t and the screenwriters don’t put any energy into building the gags. Crime gently amuses and never tries for anything else.
And it’s fine, since the film doesn’t have the time or cast to go for more. Landis is the only one of the three leads who’s consistently engaging; even when she gets pointless material, which is most of the time (Crime seems to know she’s easily the most charismatic cast member, yet the script gives her a constantly changing character because… I don’t know, idle rich?). Murphy always seems like he’s waiting for broader comedy. O’Brien always seems like he’s waiting for some actual direction. O’Brien’s scenes might actually play better with a laugh track, just because it’d provide some context for what Sutherland and the screenwriters are going for. Without it he just seems like a big jerk and a lech.
Aubert’s a weak ingenue. Martin’s light as her Romeo. Zucco’s underutilized. Ditto poor Holden. Ring and Whittell are great as the rich old spinsters. It’s a shame they aren’t in it more (Whittell isn’t even credited).
The film’s technically competent. Frank Redman’s day-for-night photography doesn’t transcend and it’s quizzical why they’d set so much of the movie outside when they clearly can’t shoot for it, but it’s not bad. Gene Milford’s editing keeps the pace.
Crime is more diverting than engaging or entertaining. Its creative choices make zero sense–who at RKO really thought people would rather sit through a Pat O’Brien vehicle than a Carole Landis one?
This post is part of A Century Of Carole Landis Blogathon hosted by Christine of Overture Books and Film.
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