Category: Hildegarde Withers movies

Murder on a Honeymoon (1935, Lloyd Corrigan)

Murder on a Honeymoon is a tepid outing for Edna May Oliver and James Gleason’s detecting duo. It’s the third in the series and, while Oliver and Gleason are back, it’s clear some of the magic was behind the camera. Robert Benchley and Seton I. Miller’s script is a little too nice (in addition to being boring) and Lloyd Corrigan’s direction lacks any inspiration.

Honeymoon takes place on Catalina, which–from the film–seems to be the most boring vacation spot in the world. The only time the murder investigation overlaps with vacation activities is in a closed casino, which is one of the film’s better sequences.

But the script’s the real problem. It ignores suspects, forgets the supporting cast and makes Gleason way too nice to Oliver. Their bickering originally had a give and take–in Honeymoon, Gleason pulls his punches. The only one being really mean to Oliver is the film’s confirmed villain.

Even the supporting cast is a little weak. None of them have story arcs–except Lola Lane–and she’s absent for most of her own arc. Lane isn’t in the picture long enough to make an impression, but DeWitt Jennings is rather weak and Spencer Charters’s incompetent local police chief needs work. It might not be Charters’s fault, since the script never lets Oliver cut into him deep enough.

There are some amusing moments with Arthur Hoyt’s unprofessional medical examiner though.

The murderer’s identity’s a surprise, but a surprise doesn’t make up for the rest.

Murder on the Blackboard (1934, George Archainbaud)

As its title suggests, Murder on the Blackboard concerns a murder in a school, specifically an elementary school. Only one student appears; Blackboard concentrates on the rather shady goings-ons of the staff. There’s a drunk janitor, a lecherous principal, not to mention a love triangle between teachers. And, one mustn’t forget, Edna May Oliver’s Ms. Withers.

Blackboard is the second in the Withers and Piper (James Gleason) series, though it’s not a direct sequel to the first. Here, Oliver and Gleason bicker and flirt in their charming and funny cantankerous people of a certain age way, but without any relationship development.

Willis Goldbeck’s script has a great structure, which makes Blackboard sail along–ably assisted by the aforementioned bickering. It’s a full ten minutes before Oliver even appears, as Blackboard establishes not just the suspects, but the possible victims, and then it’s a real-time investigation for a while once Gleason shows up. Archainbaud’s direction is okay, though he apparently didn’t give Archie Marshek enough material for smooth cutting. Nicholas Musuraca’s photography–Blackboard almost entirely takes place in the school–is real nice.

There supporting cast is competent, but they don’t make much impression after those first ten minutes. Bruce Cabot, Gertrude Michael and Barbara Fritchie are the teacher love triangle; Cabot’s easily the best of the three. Tully Marshall’s amusing as the principal, particularly opposite Oliver.

Oliver, Gleason and Goldbeck produce an excellent diversion. They distract from the mystery’s lack of mysteriousness for nearly the entire running time.

3/4★★★

CREDITS

Directed by George Archainbaud; screenplay by Willis Goldbeck, based on the story by Stuart Palmer; director of photography, Nicholas Musuraca; edited by Archie Marshek; music by Bernhard Kaun and Max Steiner; released by RKO Radio Pictures.

Starring Edna May Oliver (Hildegarde Withers), James Gleason (Inspector Oscar Piper), Bruce Cabot (Ad Stevens), Gertrude Michael (Jane Davis), Barbara Fritchie (Louise Halloran), Tully Marshall (Mr. MacFarland), Frederick Vogeding (Otto Schweitzer), Regis Toomey (Detective Smiley North), Edgar Kennedy (Detective Donahue) and Jackie Searl (Leland Stanford Jones).

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Penguin Pool Murder (1932, George Archainbaud)

Penguin Pool Murder, besides the peculiar title (and lack of a definite article), opens like almost any other early thirties mystery. A possible unfaithful wife, Mae Clarke, has a swindling louse of a husband, Guy Usher. When he ends up dead, there are multiple suspects.

Only the murder occurs at the aquarium (hence the title) and, it just so happens, a schoolteacher is giving her class a tour. The schoolteacher in question, played by Edna May Oliver, is half what sets Penguin apart. The other half is James Gleason as the police detective. He soon–first reluctantly, then enthusiastically–enlists Oliver as his partner.

The banter between Oliver and Gleason suggests the pair is an established comedy team but Penguin‘s their first pairing. From the moment the two get together, the film is a delight.

Even before they do, the film’s production values go far to recommend it. There are no exterior shots in the entire picture, but every set is exquisite–particularly the aquarium. Archainbaud has some great set-up shots and his direction is generally strong… though his inserts are bad. Editor Jack Kitchin’s weak cutting undoubtedly contributes, but Archainbaud’s direction is responsible for the jump cuts.

The mystery itself isn’t much of one–the film, which is very short, runs out of interesting suspects fairly quickly. Fourth billed Clarke disappears after the first act, leaving Robert Armstrong (as her attorney) to fill her slot.

He, and Clarence Wilson, are strong supporting assets.

Penguin‘s a lot of fun.