Presented by M. & A. Alexander Productions. Copyright 2 June 1933 by RKO Radio Pictures and Jefferson Pictures Corp. Released through RKO Radio Pictures. New York opening at the Roxy: 2 July 1933. U.S. release: 2 June 1933. U.K. release: 30 December 1933. Australian release: October 1933. 7 reels. 64 minutes.
SYNOPSIS: A serial killer, known as "The Black Ace", is stalking wealthy collectors.
NOTES: Hard to believe this film originated in Poverty Row!
COMMENT: Superbly photographed, smoothly directed, but somewhat disjointedly scripted thriller comedy. The problem is that the comedy — which is often very funny indeed, Jenkins has a couple of really hilarious lines — doesn't jell at all with a mystery thriller that is often nerve-wracking and suspenseful. The dramatic and comic elements are given equal time and tend to play against each other rather than form a cohesive whole. The reason for this failure, I suspect, is that Jenkins and McHugh play regular Chicago cops. Both are so inept that it's impossible to accept them as real characters. In order for a comic thriller to work successfully, the author must paint his comedians as amiable idiots like Laurel and Hardy or Abbott and Costello; or as wise-cracking, cowardly custards like Bob Hope; or as well- intentioned but maladroitly ingenious eager-beavers like Arthur Askey.
From the moment they first enter, flashing their outsize badges like burlesque or circus clowns, it's absolutely impossible to credit that even a corrupt Chicago constabulary would tolerate imbeciles of this caliber on the beat, let alone place them in charge of the city's major newspaper-headlined murder investigation.
A pity the script is burdened with this basic and insoluble problem for, as said above, the comedy in itself is nothing short of inspired lunacy, whilst the thriller is both ingeniously intriguing and cliffhanging yet charged with suspense.
RKO acquired this "B" from a Poverty Row outfit, releasing it as an "A" — and no wonder! What a cast! Vivienne Osborne makes a wonderfully vulnerable heroine, Chester Morris is ideal as the tough, yet personable hero, whilst Henry Stephenson has one of the most memorable roles of his career as the Black Ace's next victim. Good to see Charles Middleton as the enigmatic Simons, plus an equally big cheer for Gus Robinson as the brutally thuggish Pompey. Also to be highly praised, Virginia Howell, doing a marvelous Martha Mattox interpretation of the obligatory spooky housekeeper.
Schoenbaum's lighting — a wonder of moody atmospherics — is skilfully abetted by Ray Enright's unfaltering and pacy direction.
SYNOPSIS: A serial killer, known as "The Black Ace", is stalking wealthy collectors.
NOTES: Hard to believe this film originated in Poverty Row!
COMMENT: Superbly photographed, smoothly directed, but somewhat disjointedly scripted thriller comedy. The problem is that the comedy — which is often very funny indeed, Jenkins has a couple of really hilarious lines — doesn't jell at all with a mystery thriller that is often nerve-wracking and suspenseful. The dramatic and comic elements are given equal time and tend to play against each other rather than form a cohesive whole. The reason for this failure, I suspect, is that Jenkins and McHugh play regular Chicago cops. Both are so inept that it's impossible to accept them as real characters. In order for a comic thriller to work successfully, the author must paint his comedians as amiable idiots like Laurel and Hardy or Abbott and Costello; or as wise-cracking, cowardly custards like Bob Hope; or as well- intentioned but maladroitly ingenious eager-beavers like Arthur Askey.
From the moment they first enter, flashing their outsize badges like burlesque or circus clowns, it's absolutely impossible to credit that even a corrupt Chicago constabulary would tolerate imbeciles of this caliber on the beat, let alone place them in charge of the city's major newspaper-headlined murder investigation.
A pity the script is burdened with this basic and insoluble problem for, as said above, the comedy in itself is nothing short of inspired lunacy, whilst the thriller is both ingeniously intriguing and cliffhanging yet charged with suspense.
RKO acquired this "B" from a Poverty Row outfit, releasing it as an "A" — and no wonder! What a cast! Vivienne Osborne makes a wonderfully vulnerable heroine, Chester Morris is ideal as the tough, yet personable hero, whilst Henry Stephenson has one of the most memorable roles of his career as the Black Ace's next victim. Good to see Charles Middleton as the enigmatic Simons, plus an equally big cheer for Gus Robinson as the brutally thuggish Pompey. Also to be highly praised, Virginia Howell, doing a marvelous Martha Mattox interpretation of the obligatory spooky housekeeper.
Schoenbaum's lighting — a wonder of moody atmospherics — is skilfully abetted by Ray Enright's unfaltering and pacy direction.