Green Eyes

During the 1930s, Hollywood made a ton of murder mysteries. While they continued to make some in the 40s, the 30s was by far the most prolific period--and most of them were B-movies. These Bs had relatively unknown actors, simple plots and usually ended in about an hour...more or less. And, because I love old films, I've seen so many that they're all starting to look the same.

Take, for instance, "Green Eyes". It has all the elements you'll find in such a murder film. There is always a know-it-all guy who isn't with the local police--in this case a guy who writes murder mysteries who just happens to be there. There are misdirections galore--with too many folks lying and a supposed suicide to cover up the real murder. The plot is also, at times, too complicated and full of unnecessary details (such as the whole green eyes angle). Not surprisingly, the well-trained professional cops are complete morons. Heck, by watching these films you'd think cops NEVER solved crimes more taxing than jaywalking! And, the film is made entirely of unknown actors. No, none of the film is all that original or all that good, though I did like that they made the writer a bit of a smart-mouth. Worth seeing if you're not yet sick of the genre, but there certainly are similar yet better films out there--such as any of the Charlie Chan films or "Footsteps in the Dark".

The thirties were a dynamic decade where films turned from stilted and simple to dynamic with depth. This is a film that was made in the transition. At first, you think it is too simple with a hokey soundtrack. Then you get wrapped up in the story and find that this is a great short and to the point who done it. The film is black and white. It sort of has that Charlie Chan feels.

The story is a screenplay that has the look of a stage play. It is based on the novel "The Murder of Steven Kester" By H. Ashbrook. Jean Kester is in the process if eloping with Michael Tracy. So, people will not follow them they cut the phone lines and everyone's distributor wires. Now Jean's ruthless grandfather is found disposed of. It looks mighty suspicious. The house is full of people that were invited to a costume party. The police gat little cooperation from any of the guests. Before the day is over it will look like everyone had motive and opportunity. We may even find a few more deaths.

What part do green eyes play in the movie?

GREEN EYES opens with a costume party gone wrong, when the host is found stabbed to death. With his granddaughter as a handy suspect, the police believe they've quickly solved the crime. Obviously, that would result in a 5 minute movie, so, the cops wind up with a houseful of suspects instead.

The bulk of the film is taken up with the grilling of these people by Inspector Crofton (John Wray). While it's not a bad movie, anyone expecting a fast-paced movie packed with oddball characters spouting snappy 1930's-style dialogue could be disappointed. On the bright side, the story is interesting enough and gets sewn up nicely...

When a wealthy man is murdered at a costume party, each of the guests are considered a suspect. Naturally, one of the guests is a mystery writer (Charles Starrett), who helps the detective (John Wray) who doesn't want his help -all of the other guests have a motive, especially the dead man's granddaughter whose funds were held back by her dead grandfather ...

Nice to see Charles Starrett in something other than the Durango Kid and he's quite energetic, adding some breeziness into rather routine murder mystery which can be a bit talky and a little tedious towards the end - however, it passes the time adequately.

Cops investigate a costume party murder in a rich man's mansion.

Thoroughly routine whodunit, despite the promising opening scenes. Not surprisingly, it's one of the type popular in the 30's, when amateur sleuths out-sleuthed the professionals. Here it's Charles Starrett as a novelist figuring out the clues before the cops do. But at least the screenplay doesn't turn the head cop into some kind of buffoon as often happened in these 30's programmers.

Now I'm used to seeing Starrett with a six-gun and Stetson giving the bad guys a hard-eyed stare. So, seeing him here as a loosey-goosey lounge lizard in alpine shorts took some getting used to. But he does liven up the acting, which otherwise tends toward the dull side. Still, that last scene in the lethal bedroom stands as a real grabber of staging. Too bad the rest of the movie doesn't show a similar level of imagination.

(In passing—Am I mistaken or does Starrett look like an early version of Rock Hudson.)