Although it reunites Bela Lugosi, David Manners, and Edward Van Sloan, the noted stars of Universal's hit DRACULA from the year before, this Edward L. Marin picture shot at the Tiffany Studio for World Wide Pictures is not a horror film. Instead it is a nifty, fast-paced little murder-mystery set in a movie studio, with decent production values including exemplary cinematography and editing for such a low-budget ($50,000) production, along with competent, effective performances from a cast of a few name stars and countless Hollywood veterans, including a number of former silent stars past their prime who had become reduced to character roles and bit parts after the coming of sound. Showing up in notable bits are King Baggot, Ralph Lewis, Barbara Bedford, Spec O'Donnell, Mona Maris, and more
The plot gets off to an intriguing start with the sequence responsible for the film's title. In a fancy car outside a swanky hotel as people exit in dressy evening attire, a classy, attractive woman (Adrienne Ames) tells some gangsters that their mark is the man she's about to kiss. It all looks like an energetic Precode gangster film is about to begin. When the woman kisses the pleasantly confused man and walks off, he's immediately gunned down and the camera pans over to the director and crew filming the scene. The director (Edward Van Sloan) says it looked awful and needs a retake, but they quickly discover that the actor is actually dead from a gunshot wound and the mystery begins.
A young scenario writer who specializes in detective stories (David Manners) is eager to try solving the crime himself, especially since he's in love with the actress, who happens to be the main suspect because she's the ex-wife of the not very well-liked dead actor and is still his life insurance beneficiary. The police (John Wray and Wade Boteler) arrive and get on the case but naturally the screenwriter is always a step ahead of them, often assisted by the comical studio security cop (Vince Barnett). Bela Lugosi gets a chance for a straight dramatic role as a studio executive who like several other studio personnel and/or their spouses, also has motives for getting rid of the actor, a notorious ladies' man.
While it may often seem a routine who-done-it, the script cleverly sets up numerous red herrings and misleading clues, and provides enjoyable moments of Pre-code Prohibition-era banter, satiric Hollywood in-jokes, and cutesy comic shtick. Also, the location filming gives a revealing glimpse behind the scenes inside a real movie studio, not only sound stages but screening room, projection booth, dressing rooms, bungalows, garage, makeup and electrical departments, etc., that raise it above average interest for any film buffs.
