(1931)
Dir - Edward Sloman
Overall: MEH
Overall: MEH
In typical pre-Code Hollywood fashion, Universal's Murder By the Clock is based on both a novel of the same name and its subsequent stage play adaptation, the latter which was re-titled Dangerously Yours. As far as bog-standard old dark house mystery movies go, this one is as bog-standard as they come, be it with a little bit of Edgar Allan Poe's "The Premature Burial" thrown in for good measure. A wealthy woman dies, she decides to leave her hefty inheritance to her nephew with a shady wife instead of her dim-witted son who fantasizes about killing things, (never a good sign), and then bodies start to pile up. There is no incidental score which is generally a plus for creating intimate fly-on-the-wall engagement, at least when there is a macabre narrative unfolding. Sadly, said narrative leaves plenty to be desired, with some humdrum comic relief, interchangeable characters, and a needlessly complicated scheme that hinges on short-sighted behavior. Also, Edward Sloman's direction is persistently dull, though Lilyan Tashman and Irving Pichel at least elevate the material with their chewy performances.
(1935)
Dir - Christy Cabanne
Overall: MEH
A lighthearted old dark house mystery from small-scare Mascot Pictures, One Frightened Night is an understandably forgotten entry into the once oversaturated sub-genre. Helmed by prolific director William Christy Cabanne whose behind the screen credits run over a hundred and sixty deep through four decades, it has the formulaic set up where various red herring characters are eligible to get their desperate hands on an old kook's fortune. The catch is that said wealthy elderly fellow, (Charles Grapewin), is not dead yet, and mere moments after begrudgingly dictating who he is going to give all of his millions to post-demise, two different women show up on a dark and stormy night that each claim to be his long-lost granddaughter. How convenient. This naturally causes a kerfuffle in the spacious and crowded household, and once one of the could-be granddaughters drops dead, the investigation is on. Grapewin's performance has its moments of scenery-chewing glee as he seems to be enjoying himself with the deadly shenanigans as he grouches at everyone within earshot, but otherwise there is little else here to recommend.
(1936)
Dir - Robert F. Hill
Overall: MEH
Some Poverty Row old dark house hoopla is on display in The Rogue's Tavern, a cheapie that is clumsily executed yet harmlessly so. It has the tone of a lighthearted comedy/murder mystery with the usual slew of characters that are held up at a spacious abode trading never-funny quips with each other as bodies pile up, tensions rise, and fingers get pointed hither and tither. One of the guests happens to be a detective who is eloping with his fiance, which is convenient for cracking the case even if his crime solving tactics consist of little else besides accusing people until they get flustered. Said detective is portrayed by wise-cracking character actor Wallace Ford, with Barbara Pepper being his well-meaning yet dim-witted love interest. Neither their performances nor any of the others are memorable even in a melodramatic sense, but we do get a few grandiose speeches in the finale when the culprit is presumably caught and then actually caught. There are also jewel smugglers in the lot and a dog puppet that bites people, just to complicate matters further. It all equals a dull viewing experience though, director Robert F. Hill showing zero visual flare besides cutting to random closeups of characters staring suspiciously at other characters when nothing of interest is even happening.
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