'Klondike' is low-budget, but high-quality

Klondike (1932) (aka "The Doctor's Sacrifice")
Starring: Lyle Talbot, Thelma Todd, Jason Robards, Henry B. Walthall, George Hayes, Frank Hawks, and Pricilla Dean
Director: Phil Rosen
Rating: Seven of Ten Stars


After a patient dies following an experimental surgery, Dr. Cromwell (Talbot) finds escape from the harsh judgement of the press and the public in a remote corner or Alaska. His new life and relationship with his new friends are threatened, including his budding romance with the beautiful Klondike (Todd), when he is convinced to perform the surgery on a local (Robards) who is suffering from the same affliction as Cromwell's ill-fated former patient.

"Klondike" is a slightly creaky melodrama that is still has enough elements to recommend it to modern audiences, with two of these being particularly noteworthy. One is a plot twist I don't want to talk about, because I'd ruin the story. The other is the commentary the film makes about a news media that is more interested in being self-righteous and self-important than actually covering the truth of the matter; and public that is either too simple minded or too wrapped up in their own self-righteousness to think any substantive thoughts about an issue beyond what they told by the news media. While it's a newspaper and its editor who have it in for Dr. Cromwell, because they want to make a larger point about medical ethics, its function in the story is no different than some "reporter" on a cable newsprogram or the operator of a website who stirs up the Outrage Brigades against this or that person they believe represents whatever ill they want to destroy. If they destroy the person who's their scapegoat n the process, so much the better--it's entirely secondary if the targeted person is even guilty of what he is being tried and convicted of.

Production-wise, the film is a little better looking than many of Monogram's notriously low-budget pictures. Story-wise, it moves along at a pretty brisk pace and it keeps you invested in the plight of Dr. Cromwell, and the various supporting characters are given enough color that we come to care about them, too. Even more, the story comes to a climax far more tension-laden than many A-list pictures, and we're even given a denoument which is a nicety so often forgotten in movies of this period. (The only time the film dragged was in a scene that took place in an airplane where the characters seemed to go around in circles and repeat variations of the same lines; it felt like either like filler, or the director and producers wanted to use every bit of footage with real-life celebrity aviator Frank Hawks, so they included all takes of Hawks and star Lyle Talbot improvising their lines during the scene.)

Another key to the success of this film is its cast. Although the pregnant pauses are a bit much in certain scenes, every cast member does a far better job than you'd expect in a film like this. The star Lyle Talbot is better in "Klondike" than anything else I've seen him in, and, while Thelma Todd is up to her usual captivating standards, her performance here adds further "evidence" to my theory that her performances are enhanced or hampered by whoever she's playing off/acting with in any given scene. For example, Todd seems to light up the screen even in bit parts when appearing with Charley Chase in a way she doesn't with ZaSu Pitts, for example. In this one film, however, we see her perform several involved scenes with different actors, and she seems more engaged and engaging in her scenes with Lyle Talbot than she does with the ones with Jason Robards. Part of this could be explained by the nature of the characters to one another, but mostly, I think it's how Todd feeds off certain other actors when working with them. (If you're a fan of Thelma Todd, this is a movie you should watch; it's one of the very few dramas she got to appear in during her entirely too-short career.)

Check out "Klondike" below, via YouTube. Until just a few years ago, it was believed that no prints of the film still existed. A copy was found in a private collection in Arizona, and it has been restored to as good a condition as possible, digitized, and released online for all of us to enjoy. (The DVD version of this film from Alpha Video features what appears to be a TV edit, and it is about 15 minutes shorter than the one embedded in this post.)

'A Slip at the Switch' is lots of fun

A Slip at the Switch (1932)
Starring: Charles 'Chic' Sale, Bud Jamison, George 'Gabby' Hayes, Charlie Hall, Monte Collins, and Phil Dunham
Director: Mark Sandrich
Rating: Seven of Ten Stars

A small-town rail crossing and switch operator (Sale) must fight off a couple of robbers (Hall and Jamison) and stop two trains from colliding on the track.

"A Slip at the Switch" is an early action-comedy featuring a cast who got their start appearing in silent movies. It's a fast-paced little film where gags and slapstick action are flying fast and furiously from the very beginning of the first scene to the final moment.

It's easy to see why Charles Sale was a pop culture sensation during the late 1920s until his untimely death in 1937. He is hilarious as the tenacious and brave, but dimwitted, railway worker, playing the part with perfect comedic timing and lots of energy. Sale also has a screen presence that almost overwhelms that of Bud Jamison who plays a surprisingly intimidating bad guy.

"A Slip at the Switch" is one of six short films included on "Ultra-Rare Pre-Code Comedies Vol 3" from Alpha Video. The footage from which the transfer was made was in decent shape which will make it even more enjoyable for you to take some 13-wellspent minutes to watch this one.

Spies and/or ghosts threaten sea voyage

Mystery Liner (aka "The Ghost of John Holling") (1934)
Starring: Cornelius Keefe, Edwin Maxwell, Astrid Allwyn, Boothe Howard, Zeffie Tilbury, Gustav von Seyffertitz, Howard C. Hickman, George Hayes, and Noah Beery
Director: William Nigh
Rating: Four of Ten Stars

A passenger liner is used for a covert experiment that will allow ships to be remote controlled and thus revolutionize modern sea warfare (modern here being 1934). But, agents of "hostile foreign powers" threaten the project, the ship's captain (Beery) has gone insane, and a shadowy figure is creeping about the ship murdering people. Will Major Pope (Maxwell) save the day by untangling the mystery and unmaking a double-agent who is closer to the experiment than anyone suspects?

"Mystery Liner" has all the elements of being a really fun "detective thriller meets mad scientist" tale, but it's too talky, has just a touch too many subplots for a film that only runs an hour, and gets bogged down in the middle and becomes very, very boring. A couple of twists near the end will revive the interest of viewers who stick with it, but they really aren't interesting enough to warrant sitting throgh the lead-up.

With average camera work and staging, blah acting all around, and uninteresting, flat characters, the only strong part of this film is the core story concepts, and they're not interesting enough to lift it above a very low 4 rating.

(Triva: This film was based on a story by Edgar Wallace, a very popular mystery/thriller writer during the first quarter of the 20th century. Hundreds of films were made that adapted his work, and I think I've seen around a dozen. None have been all that good, however.)

A killer lurks in the Monte Carlo night

Monte Carlo Nights (1934)
Starring: John Darrow, Mary Brian, George Hayes and Kate Campbell
Director: William Nigh
Rating: Five of Ten Stars

After being convicted for a murder he didn't commit, adventurer Larry Sturgis (Darrow) is on his way to prison when a lucky coincidence gives him a chance to not only escape, but also to cover his trial by appearing to be dead. Following the only lead to the real killer--a system for playing the roulette wheel--he travels to Monte Carlo in hopes of tracking him down. Here, he reunites with his fiancee (Brian) and a police detective (Hayes), both of whom never gave up on proving his innocence. Will they find a killer before he strikes at them from the shadows of the Monte Carlo night?


"Monte Carlo Nights" is among the best-looking films that prolific low-budget mystery director William Nigh ever helmed. With three gorgeous and talented actresses in key roles, a decent leading man, and a bigger budget than average for a Monogram production--as evident in the sets, costumes, and crane shots featured in the film--Nigh delivers a decent little thriller that holds up nicely some 75+ years later.

The film has two weaknesses that causes me to rate it at the lower end of average, one of which is direction, the other a script issue. First, the film starts slowly, forcing the viewer to sit through an entire horse race while an ineffective attempt at establishing the lead characters takes place; it is such an obvious bit of padding that I had low hopes for the rest of the film... but it quickly got better. Second, the script is too sloppy to be truly effective in the "innocent man accused" genre that it belongs to. While it's a subgenre that was still taking shape--and Alfred Hitchcock wouldn't perfect it in movies until a few years after the release of "Monte Carlo Nights"--there's no excuse for the incompetent way the film's red herrings are served out (and then barely adressed as the film moves along).

Still, despite its flaws, this is one of those pleasant surprises that emeges while one digs through the piles of neglected or completely forgotten films that have received new life with the coming of DVD.