Paradoxically, the parts of this movie that haven't aged well are among its best parts

The Smiling Ghost (1941)
Starring: Wayne Morris, Willie Best, Brenda Marshall, Alexis Smith, and Alan Hale
Director: Lewis Seller
Rating: Five of Ten Stars

Lucky Downing (Morris), a down-on-his-luck business-owner receives financial salvation when he is offered $1,000 to become and stay engaged to heiress Elinor Fairchilde (Smith) for one month.. When he arrives for his strange assignment, he finds himself the target of a supposed ghost that has eliminated Elinor's previous two fiances, as well as one point in a love triangle between the chilly-demeanored heiress and the sassy newspaper reporter Lili Barstow (Marshall).

"The Smiling Ghost" is an example of the "dark old house" genre where an assembly of strange characters surrounding an innocent young woman are stalked and killed by a mysterious killer. This being, first and foremost, a comedy, it picks apart and mocks the conventions of the genre, but it does so with a mischievous smile rather than a malicious one.

The story is bit uneven, with some sections being so predictable they're not interesting (let alone funny), and others being clever enough to have been included in a straight-laced thriller. The one thing that's consistent throughout, however, is the witty and finely tuned dialogue throughout the film. The jokes are funny, and each character has their own unique way of talking. Unfortunately, some of the actors and actresses delivering the lines are in some cases not up to the task.

The film's hero, for example, is a dead spot throughout. Wayne Morris is good looking and has a charming air about him, but he is absolutely, totally bland. He's present and delivers his lines, and he's obviously trying, but he just doesn't have the presence to carry the lead in the film. The same is true of Alexis Smith, who probably never should have  been cast in the role of a character who is either the victim of a haunting or some sort of lunatic who's bumping off her would-be husbands. I think she was trying ti give her character a wounded, aristocratic air, but she mostly comes off as detached and bored with being in the film. Morris and Smith drag the film down, I think, because they were cast in parts beyond their ability to manage.

On the other hand, Morris is outshined in every scene by his sidekick, Willie Best. Best is energetic, funny, in in perfect pitch with the mostly zany tone of the picture. What's more, the film makes it clear that Best isn't Morris's servant or employee, but instead a loyal friend and partner. Best masquerades as a servant, because, by the standards of the time it would be unseemly for a white "man of business" to be best friends with a black man--something which itself becomes a source of humor in the film--and the warm relationship between the two makes Morris's character more interesting. Unfortunately, as the film progresses, Best's character slips further and further into the "superstitious panicky darkie" that was a mainstay of films back then. Even while portraying this obnoxious stereotype, Best is lots of fun to watch, and, given the way the character was established, I can't help but wonder if the shift wasn't born from what audiences expected from their comedies back then. (As I observed in my review of "Lucky Ghost", even films made expressly for black audiences contained these stereotypes which cause so much indignation in modern viewers.)

"The Smiling Ghost" is one of eight obscure B-movies found in the eclectic "Warner Bros. Horror/Mystery Double Features" collection. Some of the films in the set are better than this, others are worse. I'll get around to covering all over them in this space, eventually.

'Murder on the Bridle Path' disappoints

Murder on the Bridle Path (1936)
Starring: James Gleason, Helen Broderick, Louise Latimer, John Carroll, Owen Davis Jr., Christian Rub, Leslie Fenton, John Miltern, Willy Best, and Sheila Terry
Directors: William Hamilton and Edward Killy
Rating: Four of Ten Stars

When the murder of a young woman (Terry) is disguised to look like a riding accident, Police Inspector Oscar Piper (Gleason) once again receives assistance from his friend and amateur detective Hildegarde Withers (Broderick) in sorting truth from lies and shady characters from murderers.

"Murder on the Bridle Path" is the fourth film in the Hildegarde Withers series and the first one to feature an actress other than Edna May Oliver in the role of sleuthing school marm Ms. Withers. It's also the weakest entry so far.

While the replacement of the self-described "horse-faced" Oliver with the "moon-faced" and younger Helen Broderick is an immediately noticeable change, it's not actually the problem that does the movie in; Broderick actually does a good job as the acerbic school teacher. No, what damages this movie beyond saving is its script.

The Hildegarde Withers movies are detective movies, but they are also comedies. While the detective side of things is passable, the attempts at comedy are absolute and total disasters. I don't think I have seen a movie where almost every single laugh line is a complete dud--and the only remotely funny one is responded to  by a character with "are you trying to be funny?" (To which I actually said to the screen, "Yes! And he's the only one who's succeeded so far!")

Another drawback is that Oscar Piper is portrayed as an absolute moron in this film. It's like the character, who was previously shown to be a good and intelligent police officer that sometimes goes for the first obvious suspect due to pressure from his superiors, was replaced with the stock stupid cop character that so often infests B-movie murder mysteries. This is even worse than the unfunny quips, because even if you can't write comedy to save your life, you can at least get established characters right when working on a series.

On the positive side, Helen Broderick is actually a nice replace for Oliver, since she has Hildegarde Withers' crisp and caustic attitude down pat. Broderick was also an accomplished comedic actress, so this SHOULD also have been a positive. Unfortunately, the material she has to work with in this film is so unfunny that you can't tell. Perhaps her comedic gifts saved this film from being even more miserable than it is... but I think it's more likely that it proves that even a good actor can't save bad material (no matter what the saying says).

'The Ghostbreakers' features a great cast, great cinematography, and a weak script

The Ghostbreakers (1940)
Starring: Bob Hope, Willy Best, Paulette Goddard, Paul Lukas, and Anthony Quinn
Director: George Marshall
Rating: Seven of Ten Stars

A risk-taking radio reporter (Hope) and his butler Alex (Best) set out to protect an heiress (Goddard) when it seems a sinister Cuban businessman (Lukas) is going to try to scare her out of her ancestral home with a fake haunting.

"The Ghostbreakers" is a fast-paced, messily plotted horror comedy that has Bob Hope playing an oddly contradictory character--one who constantly talks about how scared and cowardly he is, but who invariably chooses the most direct and dangerous path toward problem solving at every opportunity. He is ably supported by Willie Best, who plays his man-servant and is slightly more prone to fear than his boss but who also seems to be a little smarter; and by Paulette Goddard, the chipper and stubborn heiress who refuses to be intimidated and who doesn't understand the meaning of the word "no." This trio of performers play fabulously off each other, each displaying fine perfect timing and switching back and forth between the roles of "straight man" when the jokes are flying.

The comedic performances of the stars is both enhanced and contrasted by stylish and moody cinematography and great sets that puts a number of straight horror movies from the 1940s to shame (including some of Universal's later Mummy pictures and all the "House of..." monster mashes). A number of sequences would be perfectly at home in a horror film, such as when the characters arrive on the island housing the haunted castle, and the one where Paulette Goddard is stalked by a zombie.

Unfortunately, the excellent cast and crew are laboring in the service of a badly done script. While each joke and comedic set-piece are funny by themselves, the plot that links them together is so badly constructed that it can't even be described as flimsy. Several of the red herrings obscuring who the true bad guy is are left to just flop around on the floor without any tie-in whatsoever to anything else that's going, and no explanation is offered as to how the weird caretaker of the castle and her zombie son fit into things. Presumably, they are in league with the villain, but that's never made clear, nor is there any sort hint provided to whether the son truly is a zombie or not. Worse, the zombie is the object of one of films pure moments of slapstick when within this space of a few minutes it manages to put on (or be placed in) a suit of armor and ambush Hope and Best with a morning star. Did the zombie disguise himself? Did his mother? Did the villain? It's just one of many disconnects in the film that cause its second half and conclusion to be less-than-satisfying.

Speaking of zombies and disconnects, this is one of those films I've heard is supposed to be racist through and through, because Willie Best plays a character that is a spooked black servant who is the butt of a number of jokes from Bob Hope. However, if one actually watches the movie, one sees that Best's character actually gives as good as he gets--lobbing more than just a few zingers Hope's way--and is no more or less cowardly or scared than any other character in the film. Yes, he's a clear-cut comedic figure in the film, where Hope swings between comedic and heroic, but he stands watch over the lady in distress even while knowing a killer is on the prowl, and he joins with Hope in a physical fight against the zombie. I had the same reaction to this film as I had to "King of the Zombies", another film featuring a supposedly horribly racist portrayal of a black character, but in actually watching the film, the black servant turns out to be the brightest character in the film. (Admittedly, the Mantan Moreland-portrayed character in that film is the stereotypical "scared negro servant" who happens to be working for a racist moron.)

And in both those supposedly racist films, the racist stereotypes are mild when compared to black characters in modern films, such as the over-sexed, loudmouth cop that Chris Tucker portrayed in the "Rush Hour" series, or just about any film you care to mention that has featured a rapper or former rapper trying his hand at acting. It seems to me that some commentators should actually try watching this movies instead at coming at them with preconceived notions.

Despite its flaws, "The Ghostbreakers" is an entertaining comedy in the "creepy old house" vein that lovers of that sub-genre would do well to check out. Bob Hope fans will likewise find the film interesting, as the character he portrays is a little different from what emerged later once his comedic film persona was firmly established. All in all, it's a movie that should bring extra fun to the Halloween season.

Nancy Drew: Trouble-shooter or Trouble-maker?

Nancy Drew: Trouble Shooter (1938)
Starring: Bonita Granville, Frankie Thomas, John Litel, Eville Alderson, Charlotte Wynters, Willie Best and Aldrich Bowker
Director: William Clemens
Rating: Six of Ten Stars

When a family friend (Bowker) is accused of murder, celebrated attorney Carson Drew (Litel) travels to a small country town to defend him at trial. As Carson builds his case and finds romance with a local lady (Wynters), his teenaged daugther Nancy (Granville) and her long-suffering friend Ted (Thomas) set about to prove his client's innocence by finding the real killers.


"Nancy Drew: Trouble Shooter" is a fast-movie action/comedy with a fairly simply mystery thrown in for good measure. Its pacing and general story thrust reminds me of some of the juvenile mysteries I read as a kid, so I found it quite entertaining. (Someone who's actually read some of the original Nancy Drew books tells me that everyone is behaving very much out of character, but if taken on its own merits, this is a fun little movie.)

While the thrills I'm positive this film generated for its young target audience in 1939 were far greater than those they will inspire in kids today, I think this is a film that modern youngsters might enjoy, particularly if they're readers who are interested in mysteries. The story moves fast enough and the situations that Nancy and Ted end up in are dangerous enough that I think they will be drawn into the action. It can also serve as a great conversation piece between parents and kids who may be studying American history or who just have an interest in history. It is a clear illustration of how much society has changed in the seventy years since the film's release--all the main characters featured in the film are wealthy, yet the country house the Drew's stay in doesn't have gas or running water or a phone. That's just the most obvious "study guide" element present in this film,

If you like old time detective films and comedies, I think you'll be entertained by "Nancy Drew: Trouble Shooter", no matter what your age.

'The Monster Walks' is a mediocre early talkie

The Monster Walks (1932)
Starring: Rex Lease, Sidney Bracy, Mischa Auer, Vera Reynolds and Willie Best ("Sleep 'n' Eat")
Director: Frank Strayer
Rating: Five of Ten Stars

The night following the death of Earlton Manor's master, those gathered for the reading of his will are menaced by a killer who seems to move unseen through the sprawling house's shadow-filled rooms. Will Dr. Clayton (Lease) discover the identity of the killer in time to save the prime target, his fiance, Ruth (Reynolds)?


A slightly dull example of the "Dark Old House" mystery films that flourished in the early days of the talkies, "The Monster Walks" has a couple of respectable twists and tense moments. It's not the strongest example of this faded film sub-genre, but it's decent enough.

I wonder: Is this one of the first examples of an ape being the possible killer in a mystery film? It seems like by the late 30s, every fourth low-budget thriller or comedy featured an ape (or a guy in a gorilla suit). Is this where the trend started? (One of the sources of dread of the film is a large, violent chimp that's kept in a cage in the house's basement.)