User Reviews

William Powell is a doctor dealing with a murder and an ex-wife in "The Ex-Mrs. Bradford," also starring Jean Arthur, Eric Blore, and James Gleason. It seems that Powell had chemistry going with just about any woman with whom he was teamed. Though he and Myrna Loy were the perfect screen couple, the actor made a couple of other "Thin Man" type movies, one with Ginger Rogers and this one with Arthur, both to very good effect.

Somehow one never gets tired of seeing Powell as a witty, debonair professional and "The Ex-Mrs. Bradford" is no exception. The ex-Mrs. B has Mr. B served with a subpoena for back alimony and then moves back in to help him solve a mystery that she's dragged him into. And this isn't the first time she's done that! It almost seems as though there was a "Bradford" film before this one or that this was intended to be the first of a series of films - Mr. B complains that his mystery-writer ex is constantly bringing him into cases. This time, a jockey riding the favorite horse in a raise mysteriously falls off the horse and dies right before the finish line.

The solution of the case is kind of outlandish but it's beside the point. The point is the banter between the couple and the interference of the ex-Mrs. B. Jean Arthur is quite glamorous in her role and very funny. However, with an actress who comes off as brainy as Arthur does, the humor seems intentional rather than featherbrained. I suspect the writer had something else in mind - say, the wacky side of Carole Lombard. When Arthur hears that the police have arrived, she says, "Ah, it's probably about my alimony. I've been waiting for the police to take a hand in it," it's more of a rib to Powell rather than a serious statement. It still works well, and it shows how a good actress can make a part her own.

Definitely worth watching, as William Powell and Jean Arthur always were.

The comic banter between William Powell and Jean Arthur is the highlight of this murder mystery, which has one of the most bizarre and unlikely plots ever. Powell is probably the most suave detective of the 30's, and Arthur has a unique voice which often sounds like a succession of tiny tinkly bells. They are extremely fun to watch, so take the brashness of the plot with a grain of salt and just enjoy seeing it unfold. Eric Blore also has some comic turns as Powell's butler.

Powell's contract with MGM included a clause which allowed him to reject being loaned out to another studio, but he wanted to work again with Arthur and he liked the script, so he eagerly accepted the assignment. They had worked together in two 1929 Paramount films, The Canary Murder Case and The Greene Murder Case, both in the Philo Vance series.

M-G-M had struck success in 1934 by adapting Dashiell Hammett's "The Thin Man" with William Powell and Myrna Loy in the central roles. The film was a commercial hit, received four Oscar nominations, and spawned five sequels between 1936 and 1947. The good folks at RKO Radio Pictures asked themselves "why can't we have success like that?" and so set about replicating the accomplishment. They got halfway there, at least: for the "Nick Charles" role, Powell was loaned out from M-G-M, but, for his "Nora," Jean Arthur arrived from Columbia Pictures. Both were already big names in the screwball comedy business – that year, Powell also starred in 'After the Thin Man (1936)' and 'My Man Godfey (1936),' and Arthur had graced 'Mr. Deeds Goes to Town (1936).' There does seem to be a slight mismatch in each star's comedic style; Arthur's impulsiveness tended to work better with an actor less sure of himself, like Jimmy Stewart. Thus, the interplay between husband and (ex-)wife doesn't quite come off as naturally as it did with Myrna Loy, but RKO still got their money's worth.

Does this 'Thin Man'-knockoff reach the heights of its inspirational source? It does its best, but the answer is no. While certainly utilising the comic talents of its two stars, 'The Ex-Mrs. Bradford (1936)' lacks an interesting script, becoming so halfheartedly-distracted by its main characters that the supporting cast – the very people whose movements we should be scrutinising – are anonymous wax figures. Robert Armstrong (Carl Denham in 'King Kong (1933)') is easily the most notable supporting player as shifty bookie Nick Martel, while Eric Blore does that snooty butler act he enjoyed so much. As for the other suspects, I can't tell you much about them. When, in a Nick Charles-inspired detective tactic, Dr. Bradford (Powell) decides to bring together all the potential murderers, I couldn't remember ever meeting half of them. Heck, it's been less than 24 hours since I watched the film – with full attentiveness, I assure you – and I can't even remember the name of the guilty party. At least the method of murder was ghoulishly clever.

Though Powell's character is supposed to be a professional surgeon, writer Anthony Veiller apparently felt obliged to furnish him with the characteristics of a detective. One of Nick Charles' most enticing attributes was that, despite an enviably laid-back demeanour, he could swiftly snap into physical action when a gun-wielding criminal threatened his safety. Dr. Bradford, likewise, picked up this instinct at some point during his medical training, and seems to be relatively well-acquainted with the city's hoodlums (admittedly, he does once complain about his ex-wife's habit of thrusting him into homicide investigations). Paula Bradford (Arthur) has the active imagination – and certainly the enthusiasm – of Nora Charles, but maybe not the courage under fire: upon entering the morgue, she faints in her ex-husband's arms, but not before Eric Blore has hilariously fallen down behind her. Certainly, if you're going to watch 'The Ex-Mrs. Bradford,' then it's for the two leads, who are pleasant enough to be worthwhile. As a kind of interlude in the 'Thin Man' series, it works, as well.

A William Powell/Jean Arthur murder caper from 1936. Think of it as a companion piece to Powell's more popular Thin Man films but w/o the booze, Asta (their lovable pooch) or Myrna Loy. Powell plays a well-to-do pathologist who's tasked to find out who knocked off a horse jockey. When the bodies begin piling up & at one point he's implicated in the murders, Powell, w/ample comedic assistance by the peerless Arthur, must find the culprit before another big race is upon them. Not really much different than Powell's signature crime series, one wonders why this outing wasn't rewritten & released as a Thin Man movie. Oh well, if you can't get enough of this pair, then this film'll do it for ya.

A reasonably entertaining combination of comedy and mystery, done in much the same fashion as 'The Thin Man', and even starring the same star, William Powell is as good as one would expect, however Jean Arthur does not work quite as well with him as Myrna Loy does, and she is even a tad annoying to have on screen at times. The script is well written with some good lines and an interesting plot, and the film relatively engaging on the whole. By all means it is inferior to 'The Thin Man', but yet it manages to do quite a good job with similar material, and other than Powell's character, the elements borrowed from 'The Thin Man' are fairly disguised. It is a good film in itself either way.

... and yet it still came out pretty entertaining. It is obvious that RKO is trying to imitate the Thin Man series over at MGM, and they did pony up the money to borrow William Powell from MGM as the sleuth/surgeon in this one - yes I said surgeon. The thing is, this one has almost exactly the same skeleton of a plot outline as RKO's "The Star of Midnight" from the year before where Powell is the sleuth and Ginger Rogers is the girl that from the beginning claims she is going to marry him. This film even borrows the music from "Star of Midnight".

This time it is Jean Arthur as the ex-wife who is awfully chummy with Powell's character, Dr. Bradford, considering they are divorced. What caused the break-up? Another man/woman? Money problems? Bored with each other? Nope. Just that the ex-wife involved the doctor in all of her murder mysteries to the point he was more her co-writer than doctor. Slim reasons for a divorce, thus the chumminess and the easy camaraderie.

Paula Bradford comes to town on a visit just after a jockey has dropped dead as he was about to win his race. Paula uses a visit from the horse's trainer, Mike North, who believes the jockey was murdered, to get Dr. Bradford involved in a murder case AGAIN. Now overall this film is great fun. One of the problems is that the great Jean Arthur is really miscast as the ex-wife. All the best qualities of Miss Arthur, earthiness and toughness, aren't allowed to do more than peak through with this stilted rather goofy character.

Also, the story gets quite confusing to the point that it does hold your interest if you can keep pace with it. Also, casting James Gleason, usually the smartest guy in the room, as a cop that can't see that Dr. Bradford has been obviously set up for a second murder for which he had no motive and no weapon just seems outrageous. Even as Dr. Bradford worries about being arrested for this murder, it is impossible to join him in his fears because the set up is just so apparent. Oh, and how do you further confuse an otherwise confusing story? Cast five actors with pencil-thin mustaches that all look the same!

And yet it's worth a look, because of the stars, because of the pace, and because of the rather outrageous ending. I'd recommend it.

RKO studios decided to borrow both William Powell from MGM and Jean Arthur from Columbia, for one of their more big budget efforts to cash in on the popularity of The Thin Man. They succeeded to some degree.

A lot of folks forget that in addition to and earlier than Nick Charles, Bill Powell also played in a few Philo Vance films in the title role. So by this time he was pretty well set in the role. Doctor Bradford is not doing as many liquid lunches as Nick Charles, but the basic blasé Nick is still there. One difference is that while Nick Charles married an heiress, Doctor Bradford works for a living as a physician. That helps in his avocation of detective and in fact it does in this film.

He's got two murders to solve. A jockey falls off a horse coming into the homestretch of a big race and dies for no apparent reason. The trainer suspects something afoot, but he's bumped off by the more conventional method of a bullet. This is after he comes to Bill Powell for help.

Myrna Loy was a more steadying influence on Bill Powell than Jean Arthur was. Arthur plays it as more of a dizzy dame than Loy did. But it works here and she and Powell have good chemistry.

The ever dependable James Gleason is the police inspector in the Sam Levene/Nat Pendleton role. All they needed here was Asta and possibly Eric Blore as Powell's butler was essaying that part.

If Powell and Arthur were signed at this studio we might have seen a whole slew of Bradford films.

There were quite a few reasons for wanting to see 'The Ex-Mrs Bradford'. Am a fan of classic film. Love it when mystery and comedy go together and the two have gelled well many films in film. William Powell was one of the best when it came to witty and debonair male characters and Jean Arthur was always a charming watch. It was interesting to see how Powell would fare in a 'The Thin Man'-like film with somebody other than Myrna Loy (a legendary partnership).

Actually thought that Powell fared very well with a female partner other than Loy, in a part that Loy would have filled with effortless ease. Both Powell and Arthur register very well and they are the two main reasons to watch 'The Ex-Mrs Bradford'. Comparisons to the 'Thin Man' series are inevitable, but 'The Ex-Mrs Bradford' really does deserve to stand on its own and be judged separately. While it is not a great film, it to me was enjoyable and worth watching as long as one doesn't expect too much.

By all means, 'The Ex-Mrs Bradford' has its flaws. The film loses its way somewhat later on, where events get improbable and too reliant on coincidence. The identity and motive of the responsible were not hard to figure out.

Stephen Roberts' direction is somewhat too workmanlike at best and is not very distinct.

It is though to the cast's credit that 'The Ex-Mrs Bradford' actually just about works. Powell is debonair, suave, sophisticated and witty, while Arthur is charming, looks amazing and has the right lightness of touch for her role. Powell and Arthur's chemistry may not sparkle as much as Powell with Loy, but they look very natural together and like they were having fun. They are well supported by the rest of the cast. James Gleason is a standout and even more so Eric Blore giving his all in a type of role he played better than most at that time.

Visually, 'The Ex-Mrs Bradford' looks great. Especially standing out is the way Arthur is photographed. The story on the whole goes at a fast, lively pace and doesn't outstay or feel too thin for its short running time. The script has enough wit and smartness to satisfy.

Concluding, enjoyable if not mind-blowing. 7/10

William Powell recreates, for RKO, his Nick Charles character, now as Dr. Bradford, M.D. and Jean Arthur substitutes as Nora. How did it work? very well! This film works because Powell and Arthur have terrific chemistry, and a crackerjack good comic-mystery script. The mystery is clever, and the humor urbane and lighthearted. If you have enjoyed "The Thin Man" films, do yourself a favor and see it. It's available on tape, and I suspect DVD also.

A jockey expires under mysterious circumstances, bringing in an urbane doctor and his ditsy ex-wife.

Pretty good whodunit. But the real mystery is the reason for this copy cat version of the Thin Man, especially when it's running at the same time as After the Thin Man (1936). Oh well, just one more Hollywood mystery. I suppose the reason has something to do with a change of studios, from MGM to RKO.

Whatever the solution, the screwball formula works well. Powell and Arthur are both in fine form, along with a fairly colorful cast of supporting players. Actually, the whodunit part is not really played up in a rather complicated screenplay. As expected, the real emphasis is on the two droll leads as they trade snappy dialog in sophisticated fashion. The results come through in highly engaging style. I guess my only remaining point is whether or not RKO has something against little Scottie dogs.

This movie was made the same year as the first Thin Man film, and it's another stylish black-and-white murder mystery starring the same leading man (William Powell), so comparisons are inevitable. Its script isn't nearly as strong as the best of the Thin Man flicks, but if you're a big TM fan, this film can ALMOST feel like an extra entry in the series -- except that the fabulous Myrna Loy is nowhere in sight.

Powell is just as polished here as he is in the Thin Man movies (though seeing him perform a chaste autopsy reminds you that he's playing a doctor, not Nick Charles), and he's well paired with Jean Arthur playing the titular ex-wife, who's bucking for a reconciliation with her reluctant former hubby. Her Paula comes across as a slightly smarter Gracie Allen in an endless stream of gorgeous designer gowns, sparkling diamonds, and perky hats. (In fact, if you're paying close attention, you'll notice that she switches costumes at a couple of slightly inexplicable moments.)

The couple bickers well (but not at the break-neck pace of Powell and Loy), and there is a little bit of simmering sexual tension (but again, not in the same league as P&L).

A typical exchange: Paula: She was wearing a cocktail dress. Bradford: What's a cocktail dress? Paula: (with a kooky smile) Something to spill cocktails on! Bradford: (deadpan) That sounds reasonable.

It feels like the writer couldn't quite decide if he wanted to present a relationship-driven comedy or a thrilling drama, and the undeniably talented actors seem equally confused at times. Still, it's ultimately an enjoyable film of its type (though what "type" that exactly is, is open to debate), and if you enjoy golden oldies -- and especially if you're fond of the two leads -- you won't be disappointed.

I've seen the Thin Man series -- Powell and Loy are definitely great, but there is something awfully sweet about Powell and Arthur's chemistry in this flick. Jean Arthur SHINES when she looks at Powell. There is an unmistakable undercurrent buzzing between them. This film may not have the wit of the Thin Man series, but undeniably makes up for it in charm. While I watched it, I thought for sure Powell was carrying on an off-screen affair with Arthur. My friends thought the same. This is one film where I wish I could step back in time (to schmooze and lock lips with Powell!) There seems to be no end to his lovable playful smirks! Powell's character, Lawrence Bradford, is probably the closest thing to the "perfect man." Okay, this is sounding way too gushy, but I can't help myself.

A likeable, if highly contrived comic-mystery from Golden Age Hollywood, pairing two of its best known light-entertainment actors, William Powell and Jean Arthur. Powell had already established his leading-man credentials at the box office, particularly with the hugely successful "The Thin Man" while Arthur is still something of a work-in-progress, although she's almost the finished article as his independent, smart-Alice ex-wife whose main aim is to have him re-marry her.

Sure, the film looks like an excuse to get these two together in a film which could almost have been titled "After The Thin Man", before that particular sequel, the first of many, hit the streets, as it follows the familiar pattern of a mildly warring couple who get involved in murder mysteries. This particular story starts off with the suspicious death of a jockey just about to win a big race in which a number of people seem to have a big financial interest. As the bodies pile-up, both Mr (in truth Dr) and Mrs Bradford compile a list of seven potential suspects and do that Agatha Christie thing of gathering them all in the one confined spot, the better to flush out the perpetrator of the dirty deeds.

The plot really is fantastical and coincidental from the almost unbelievable modus operandum of the killer, to the highly improbable way the plot takes the Bradfords along with it with every twist and turn.

Listen, I quite enjoyed it and am not going to judge it too harshly. Powell is smooth and debonair, never out of suit, shirt and tie the whole movie, while Arthur gets to swan about wise-cracking here and there mostly in pretty swank evening-wear. The direction is stolid and rather static, with the camera often pointed four-square on a character just as they're about to deliver their lines. Both the lead actors here made better films of this type than this so-so effort but I still enjoyed the combination even if the material they're working on is a little thinner than "The Thin Man" I'd have to say.

Dr Lawrence Bradford is entangled in the suspicious death of a jockey by his ex-wife Paula (Jean Arthur).

Passable mystery film on the vein of The Thin Man The routine script is enhanced by the two stars: Powell is excellent, and Arthur is quite good and gets to wear some beautiful costumes. There's also a supporting cast of recognizable actors like Eric Blore, James Gleason, Robert Armstrong and Grant Mitchell. An entertaining way to spend 80 minutes. 3/5

I have always enjoyed Jean Arthur in movies and was surprised how much I didn't like her here. I think part of it is because I watched this William Powell/Jean Arthur flick just after seeing two exceptional William Powell/Myrna Loy films. The chemistry between Powell and Loy is simply better and the other films (not just the THIN MAN ones) were more enjoyable and the characters worked better together. In this case, you wonder why Arthur and Powell EVER got married, as Jean is just too annoying and whiny. Instead of being divorced, I could just as easily seen Powell killing her. This is a mistake, as the dialog is mostly one-way and the banter back and forth isn't as witty or snappy as the Loy/Powell films. It's more like Powell makes a sarcastic comment and Arthur misunderstands it--this gets old really fast.

The film itself seems a lot like a THIN MAN plot--a murder mystery that Powell (as a doctor) and Arthur (as a mystery writer) investigate separately. Not a bad film but could have been better. For a better film watch any Powell/Loy film or for a similar but better executed plot, see Errol Flynn's FOOTSTEPS IN THE DARK--another film about a writer turned murder investigator but with better results.

"The Ex-Mrs. Bradford" (1936), starring Thin Man series star William Powell (this film was released the same year as the second Thin Man film, "After The Thin Man," comes very close to duplicating the fun and style of the Thin Man films, but it nonetheless misses. Still, it is a wonderfully fun, highly entertaining murder mystery in the same comic vein.

Is Myrna Loy missed? Of course, let's not lie. However, I'd be hard-pressed to name a better substitute than Jean Arthur. And the chemistry between Arthur and co-star William Powell is real and it's fun, romantic and involving.

The story and screenplay by Anthonyu Vieller and John Wyne's production company partner, James Edward Grant ("The Angel & The Bad Man") is close to being up there with a Thin Man effort, but lacks a bit of the proper wit and sizzle.

While it's not in the stratosphere of 'The Thin Man" movies (what else is?), "The Ex-Mrs. Bradford" is one of the most entertaining of the dozens and dozens of mystery-comedy "who-done-its" of the '30s & 40s.

Some movie buffs like to compare various films of the comedy mystery group that William Powell made. Most reviewers focus on the chemistry between Powell and his female co-star, and on how well the co-star handles her role. The prototype for comparison is the role Myrna Loy played as Nora to Powell's Nick Charles in the Thin Man movies. Of course, it's OK to do that. But, recalling the variety of movies Powell was in and looking at the list of his work in the 1930s, I think Powell and movie makers were experimenting. "The Thin Man" was made in 1934, and the next one of that series didn't come out until "After the Thin Man" in 1936

But in the meantime, Powell starred in some other comedies, a couple musicals and a couple of dramas. One of those was a comedy mystery with another star. In 1935, Powell made "Star of Midnight" with Ginger Rogers. So, was it possible that Powell, and/or some movie moguls were looking for the best match with Powell to continue the Thin Man series? I wonder – especially since "Star" and "The Ex-Mrs. Bradford" both were made by RKO.

After these two comedy mysteries at RKO, Powell returned to MGM and picked up with the Myrna Loy match for more Thin Man movies. I enjoy all of those films, and I think there was something special about that pairing. But, it doesn't take anything away from these others films or the co-stars performances with Powell.

So, here we have a film with Jean Arthur, who became known for her comedy roles; but, who also was very good in dramatic roles. Arthur had a trademark high-pitched and sometimes squeaky voice that takes some getting used to. But, it only takes one film to do that. Some think she plays a ditsy blonde, but I think she comes across as very sharp, but a little naive and silly at times. And, those are endearing traits for her character, Paula, in this film.

Nick's role as an M.D. – Dr. Bradford ("Brad") is part and parcel to the mystery and plot of this film. He and Arthur have very good supporting help from a number of other actors. At the top of the list is Eric Blore who plays Stokes. I don't think anyone has ever played a better butler role than Blore in comedies. While maintaining his proper respectful poise in his speech, Blore is fantastically funny in his facial expressions and mannerisms. This is a fine example of how supporting roles can really add to the quality and enjoyment of movies.

Other reviewers discuss the plot, so I'll share some favorite lines form the film. Paula, "Oh good, dinner." Brad, "This is hardly the occasion for a banquet, but, uh … Stokes, lock up the silver." After dinner, Paula, "Brad, I've come to a terrific decision. I'm going to marry you again." Brad, "Paula, that's the thing I like about you. You're so subtle." Paula, "Well, I was only doing it for your sake, so you wouldn't have to pay me the alimony." Brad, "Oh, trying to bribe me, huh?"

Brad, "Say, what is this, a frame-up?" Paula, "Well, you know, great minds …" Brad, "No. I don't know any great minds."

Dr. Bradford examines jockeys before a race. He tells them to come forward one at a time and give their name. The first one steps up, "Ray Torro." Brad checks his heart, "OK, next." The second jockey says, "Al Torro." Dr. Bradford says, "Brothers?" Al, "No, he's my old man." Dr. Bradford, "Where's your grandfather riding?" Al, "Havana." As Brad finishes and leaves, Paula meets him. Paula, "Did you inoculate him?" Brad," With a little difficulty." Paula, Oh, I thought you used a hypodermic."

This is a most entertaining film all through. Watch for the classic scenes where Paula tries to help Brad in a couple of scuffles. You might guess what happens. Very funny, indeed.

Enjoyed this 1936 film with plenty of veteran classic actors and especially, William Powell, (Dr. Lawrence Bradford), "Mister Roberts", who played the role as a doctor and detective. Dr. Bradford was once married to Jean Arthur, (Paula Bradford), "Shane", and got a divorce and still they managed to live with each other and also fight all the time. Paula wanted her husband to investigate a homicide and did everything she could to convince him it was very important. Jean Arthur plays a rather nutty type and there is plenty of 1936 Comedy and the method of murder is something you will never believe, especially with a jockey on a California Race Track. Robert Armstrong, (Nick Martel) "King Kong" gave a great supporting role as a bookie along with James Gleason, a detective who need the help of Dr. Bradford in order to solve this very strange murder mystery. If you see this film, just remember it was produced and directed in 1936 and the people in the audience in those days thought this was great entertainment and it really was in Those DAYS!

I was so taken with the chemistry between Powell and Arthur that I barely followed the plot, which was OK but had some holes. Horse-racing jockey dies, mystery ensues, involving gangs and money. The murder instrument and method were not very realistic, reminiscent of the James Bond scene with the tarantula. Sorry, but I'd guess movie audiences even back then were too sophisticated to fall for that.

So, I was mainly just queuing up for their scenes together, which was most of them. Their dialog was so witty and sharp, her endearing and wily attempts to show her affection and recapture his love were so real, and his feeble attempts to off her advances when it was obvious he loved her back, made it that much more enjoyable. There was real affection afoot between those two, and the movie cameras that separated them from us could not hope to hide it.

I rate their chemistry much higher than that between Powell and Loy in The Thin Man series. It really sparkled. The rest of the movie could have been the corniest thing going (and at times, it was), but it wouldn't have mattered. And because of these two, this movie had me not wanting to miss a minute.

Altogether, Powell and Arthur had 5 collaborations, two in 1929, two in 1930, and this one in 1936. We were robbed in that this medium was not seized upon and repeated. It's a shame we couldn't be treated to more of these.

It's not Nick and Nora, but it still works. The formula is similar and there is a murder mystery to be solved, and it's a pretty good one. the big difference is that Myrna Loy is not here and her place is taken by Jean Arthur, and she proves to be a very adequate replacement. She is the Ex-Mrs. Bradford in the title and also has the requisite comedic touch for such a part, and helps to keep the picture moving at the quick, breezy pace the genre is known for.

The plot involves a murder at a race track and another one connected to the first. If you are a fan of the Thin Man series you will enjoy this one as they are remarkably alike in pacing and screenplay. And the intricate mystery plot will keep you guessing right up to the end. A very enjoyable 80 minutes, even without Mrs. Charles.

An OK mystery, but I don't get some of the rave reviews here. Were we all watching the same film? Anyone who was paying attention had the murder method figured 15 minutes before Powell catches on. Gathering all the suspects in one room is another weak ploy by writers not nearly as clever as The Thin Man crew (after all, Powell has already seen the film of the killer, already has the evidence, and already knows whodunnit, so what's the point?). You can see most of the laughs coming long before they happen, very few are actually funny, and the rest don't make any sense. Give it a 6 for effort, especially since there are so many good performances from most, though not all, of the crew. Powell is much better than the material. Arthur just seems unable to work with lame jokes and comic devices that keep falling flat (can you blame her?). The problem is a weak, contrived script. Did the writers really think we wouldn't guess who walked off with the gelatin on Powell's scalpel? Gimme a break. Ignore the humor and you have at least a decent mystery. As for the laughs alone, I give it a 2. I understand this was one of RKO's biggest hits in 1936. Must have been the big names that brought the crowds in. Frankly, I would have asked for a refund.

Whatever gold is spun from this little mystery/comedy comes from the crackling performances of WILLIAM POWELL and JEAN ARTHUR (prettily photographed through gauze for her movie star close-ups). They do what they can to bolster a weak script that moves in lumbering fashion toward a climax that has all the suspects gathered together to await the revelation of the killer by debonair Powell. But by this time, none of the suspects have established any kind of identity, so the viewer can only yawn when the culprit is revealed to be one of the least visible supporting actors.

As a mystery, it fails to have any real suspense nor does it have a satisfying enough conclusion. The method of killing is so far out that it has to be the most unlikely explanation a scriptwriter ever dreamed up. As a comedy, it falls somewhere between THE THIN MAN stuff and any other screwball comedy of the thirties that featured Powell and Arthur in tailor-made roles.

However, fans of the couple will surely find their light touch with this sort of material refreshing, if not original. But somehow, it never quite jells in its attempt to be an amusing mystery caper. Nor is it original enough to dim the memory of the better scripted Powell/Loy outings.