User reviews

Nick Charles (William Powell) is a former detective who returns to NYC with his new wife Nora (Myrna Loy) and their dog Asta after 4 years in California. He's happily retired after Nora's father left them a fortune. His friend inventor Clyde Wynant has mysteriously disappeared after he confronts his secretary Julia Wolf about $50k in missing bonds. Clyde's ex-wife Mimi (Minna Gombell) is looking for more money but finds a dead Julia Wolf instead. Clyde becomes the prime suspect. Clyde's daughter Dorothy (Maureen O'Sullivan) refuses to believe it. Nora convinces Nick to take the case after gangster Joe Morelli barges in on them.

William Powell and Myrna Loy are terrific together. Their dialog is quick and snappy. It's loads of fun. If anything, this movie needs more of them. That's my only complaint. The movie takes too long to get to them as it concentrates on Wynant and the murder. The murder mystery works well but not necessarily anything original. This is simply a fun couple and the movie is best with both of them on the screen.

"The Thin Man" introduces film audiences to the Dashiell Hammett characters Nick and Nora Charles, portrayed by one of the great screen couples, William Powell and Myrna Loy. MGM was very surprised when the film, for which they had no ambitious plans, became a huge hit and even garnered four Oscar nominations.

This Nick and Nora have very little to do with Hammett's Nick and Nora, and it's just as well. William Powell and Myrna Loy created a lively, fun, loving couple that's all their own. The two actors worked better together than probably any other team - they're the non-dancing Astaire and Rogers. Loy's entrance into this film - she's dragged by Asta into a bar while she's balancing Christmas gifts and ends up flat on her face - is one of the best. Nick is pretty much smashed through most of the movie - people drank a lot more in those days. Powell manages to be elegant, funny, smart, warm, and do slapstick - sometimes all at the same time. Asta has a helluva time keeping up with them.

A very pretty Maureen O'Sullivan costars as a young woman whose father is missing and then is suspected of killing his ex-wife - that's for starters. He seems to be on a killing spree. Though Charles hasn't been involved in detective work in four years, she begs him to help her. After a visit from the police in the middle of the night, Nora asks Nick, "Are you going to take her case?" "Take it?" Nick asks, reaching for the booze. "I'm in it!"

Highly recommended for first-class chemistry, wit, humor, a good mystery, and overall enjoyment.

The Thin Man is directed by W. S. Van Dyke and co-written by Albert Hackett and Frances Goodrich. It is based on the Dashiell Hammett novel of the same name. Starring are William Powell and Myrna Loy, with support coming from Maureen O'Sullivan, Nat Pendleton, Minna Gombell, Porter Hall and Skippy as Astra the dog. William Axt scores the music and James Wong Howe is the cinematographer.

Plot finds Powell and Loy as married couple, Nick and Nora Charles, he is a retired detective, she a good time heiress. Planning to finally settle down, their life is upturned when Nick is called back into detective work due to a friend's disappearance and the possibility he was also involved in a murder. Murder, malarkey and mirth are about to become the order of the day.

It was the big surprise hit of 1934. Afforded only a tiny budget because studio head honcho Louis B. Mayer thought it was dud material, and he ordered for it to be completed in under three weeks time! Film made stars out of Powell and Loy and coined an impressive $2 million at the box office. Also birthing a franchise (5 film sequels and a radio and television series would follow), it's a film that has irresistible charm leaping out from every frame. It's easy to see even now why a mid 1930's audience could take so warmly to such an appealing motion picture.

From the off the film was in good hands, Dyke (One-Take Woody as he was sometimes known) was an unfussy director with a keen eye for pacing and casting, both of which are things that shine through in this production. There's also considerable talent in the writing, both in the source material and with the script writers. Hammett based his witty bantering couple on himself and his relationship with playwright Lillian Hellman, this was ideal material for Hackett and Goodrich, themselves a happily married couple fondly thought of in the cut and thrust world of Hollywood. As a couple they would go on to write It's a Wonderful Life for Frank Capra and win the Pulitzer Prize for their play The Diary of Anne Frank.

It stands out as a film of note because it successfully marries a murder mystery story with a screwball comedy spin, this was something new and exciting. While the believable relationship between Powell and Loy was also a breath of fresh air - a married couple deeply in love, devoted, funny, boozey and bouncing off of each other with witty repartee. It can never be overstated just how good Powell and Loy are here, true enough they are given an absolutely zinging script to work from, but the level of comedy, both in visual ticks and delivery of lines, is extraordinarily high.

Small budget and a small shoot, but everything else about The Thin Man is big. Big laughs, big mystery and big love, all bundled up into a joyous bit of classic cinema. 9/10

"The Thin Man", a deliciously superb mix that keeps getting richer becomes better with every single viewing. The first time I missed a bit of the murder plot, but repeated viewings just enhance the movie.

It has started making me wanted to go out, get a terrier and call it Asta, drink too much for my own good and become a private eye detective. And move to New York. The lovable couple make it all look fun, and even if they do drink too much. Only after I have snapped out of admiration mode for the movie I remember that they were highly paid actors following a script in a hit film of 1934, and I'm living in the year 2000, cannot get a dog, am living in Sydney, and worst of all, I'm fourteen, so I can't drink or become a detective. Such is the modern manner of the movie. It is one of the very few films of its time that retains its freshness, intrigue and brilliant humour.

William Powell and Myrna Loy are incredibly likeable, the wisecracking darlings of society who we all want to know. Their performances were both absolutely brilliant! Some of their antics are a good deal wilder than those we are used to, but in fear of being caught up in murder would keep me away from them, but not long enough. I don't believe there are any shallow characters at all. Thank goodness for "The Thin Man". One of the first to show an affectionate couple in love, I'm still scanning for the same in movies of the 50s.

W.S Dyke is of course not one of the most remembered directors of his time, but for this alone he could be considered a great director. He was not Alfred Hitchcock, but he successfully combined high comedy, crime and thrills into one film. No wonder the major film studios were hot after this property. And Dyke didn't have to rely on the excruciatingly hilarious elements of slapstick. A married couple and a dog was all that was needed. Such a simple thing to emphasise on, and how well it worked! Could there be a more stolen plot of today?

Unfortunately, MGM, despite creating one of the best teamings of the era by putting the platonic Powell and Loy together, released this film in 1934. A nominee for Best Picture, Actor and Director, among other things, it was Capra's "It Happened One Night" that made history by becoming the first film in history to sweep the five major categories at the Oscars. If it had been released in 1933, it would have beaten the now forgotten "Calvacade", in 1935 it may have swept some Oscars up against "Mutiny on the Bounty". I wonder why Loy was not nominated. The film simply could not have been done without her.

Powell and Loy went on to make many movies together. Asta, appeared again as George in the 1938 slapstick masterpiece "Bringing Up Baby".

Although we need some good movies now, no one should even think contemplate for a split second on a remake. There is no way justice could be done to this film. It is a comic masterpiece that continually tricks the viewers, and without a doubt, one of the very best and brightest movies of the 1930s.

I hope I can watch the other "Thin Man" movies. I will definitely be reading the book. The film ended half an hour ago, but I already feel like going back for a second helping.

Rating: 10/10

A great comic murder mystery that relies on the acting and snappy dialog and less on the plot, which otherwise is a standard whodunit from a novel by Dash Hammett. Powell, Loy and O'Sullivan give it their all as society people caught up in a trashy murder involving Mrs. Tarzan's zany scientist dad. Were it not for these three, the film would likely be unwatchable today. They are nicely supported by an army of bit players doing their best Runyon-esquire impressions as felons and thugs who all seem to have a passion for Powell's Nick Charles, ex-cop and now the gin-swilling husband of millionairess Loy. The story takes place at Christmastime in Manhattan, which gives it a nice sense of time and place even though it was clearly shot on Hollywood sound stages. No one apparently planned on a followup, but the movie proved so popular, the entire production team was back in place two years later for the only slightly less captivating AFTER THE THIN MAN, this time set in California on New Year's Eve.

Where to begin? I guess I'll start off by saying that this is one of my favorite films of all time. I first saw it on TV years ago (I was probably eleven or twelve) and I still totally love it. Every time I see it, I feel like I get more out of it. I feel like I see AND hear more than I did before.

The story goes that creepy Clyde Wynant (wonderful character actor Edward Ellis) wants to give some bonds to his daughter Dorothy (Maureen O'Sullivan) as a wedding present. But his mistress Julia (Natalie Moorhead) has gotten rid of them. When Julia turns up murdered, Wynant is the obvious suspect, but nobody can find him.

Enter Nick and Nora Charles (William Powell and Myrna Loy), a detective and heiress, just recently married, and clearly very much in love. Nick finds himself pulled into the case, with everyone around him urging him into it. He's reluctant: it's his honeymoon after all. But sure enough he's persuaded to take the case, solves it and exposes the murderer at a climactic dinner party.

Bill Powell and Myrna Loy have astounding chemistry. As husband and wife, they are equals, equally hard-drinking, equally witty, equally fun-loving. They have the same sense of adventure, the same stubbornness, the same competitiveness. In so many scenes, Powell will saw something in his playful, semi-childish, half-drunk sort of way, and Loy will respond with some fabulously delivered retort, in a manner that is almost like a world-wary mother saying to her child 'Now, now, Junior...' It's hard to describe exactly. If anything, I suppose you could say it's deceptively simple. It's one of those things you have to see for yourself.

The rest of the cast is good. I particularly love Minna Gombell, Mynant's ex-wife Mimi, with her latin boyfriend (Cesar Romero) and her tight, shiny black dresses with white fur-lined princess sleeves. Slight, ernest and bespeckeled, William Henry turns in a riotous performance as Gilbert, Mimi and Clyde Wynant's son and Dorothy's brother. A Kinsey-lke figure, the role of Gilbert is one of those bookish, overly-analytical Hollywood stock characters who try to explain other character's subconscious reasons for their actions, and who give strangers peculiar looks at parties. Henry makes the character believable, and he stands out as one of the characters in the movie. Gerturde Short, in an uncredited role, gives a good performance as well. Her delivery of the "I don't like crooks, and if I did like'em..." line is unforgettable. (If you blink, you'll miss Tui Lorraine Bow, friend and step-mother of It Girl Clara Bow! Bert Roach of The Crowd has a small role as well.)

For a modestly-budgeted, rapidly shot, b-level production, The Thin Man is a classy and stylish film. The clothes, assembled by the genial Dolly Tree, are great, and make this a must-see anyone even remotely interested in period fashions. The art deco sets are quite fine, if modest and at times a bit sparse. The editing is good, as is the fairly simplistic photography. Woody Van Dyke, the director, always worked fast, and Myrna Loy recalled that all the movies they worked together on were made at frantic pace. Part of the reason that The Thin Man moves so quickly is the fact that production was so hurried.

The Thin Man gets a ten out of ten from me for being one of the best films ever produced, and one of my absolute favorites of all time.

W.S. Van Dyke's 1934 film "The Thin Man" stars Myrna Loy and William Powell as Nora and Nick Charles, upper class sleuths who unwittingly become caught up in the case of a missing friend and former client. Nick is a former detective who has been in retirement for the last four years, living the high life with Nora when Dorothy Wynant (Maureen O'Sullivan) implores with them to help find her father, who has been missing for three months. Throughout the investigation, Nick and Nora rarely are without a drink in their hands, are forever trading bons mots and getting themselves into comical situations; they even get their terrier Asta in on their investigation.

"The Thin Man" is a great detective story that is enhanced by its classiness and humor. Powell is definitely the physical comedian of the pair, with Loy looking stunning and conveying so much with the looks she gives him. I honestly found myself guessing the outcome until the end, which culminates in a deliciously wonderful dinner party where all of the guests are suspects. It is stunning that this film was made in 1934, because it seems so ahead of its time; which is probably just one reason why it is so highly regarded and remains on many critics' lists. "The Thin Man" is so thoroughly enjoyable, and its stars (including Asta) are so engaging that I look forward to seeing more in the six-film series. Rent this one or catch it on Turner Classic Movies, like I did. It is well worth seeing, and surely an inspiration to many film genres ranging from screwball comedies to detective stories. A very strong 8/10.

--Shelly

Never have I had the opportunity to witness such an entertaining hour and a half of cinema as I did with The Thin Man. Upon viewing (due to a suggestion from my father), I have a whole new respect for the films made in the 1930s as well as the widely unknown works of director W.S. Van Dyke. This film was an amazing blend of comedy, who-dun-it, and satire combined into a surprisingly short 93 minutes. The charm and wit of the characters, the classic mystery nestled between, and the surprising ending helped create this coveted piece of work. I can honestly say this; I have seen several films come through the Hollywood machine over the years, yet none can compare to the excitement that I experienced watching this film for the first time. I cannot wait to watch it again. It reminded me of my first viewing of the widely hysterical television series entitled Are You Being Served? The dialogue was extremely smart and seemed to break the boundaries of that era's cinema.

I will be perfectly honest, if anyone had approached me prior to my viewing of this film and asked if I knew who William Powell was, I would have given them the classic "stare into the darkness" look. Now, I cannot wait to revisit other pieces of his work. He defined and created the film version of the Thin Man better than I have witnessed any modern day actor do. He took a simple story, a murder mystery that would have been dull otherwise, and transformed it into this satiric comedy about sex, booze, and women. It was a transformation that I was not ready for, which only heightened my overall experience of this film. While some credit has to go to Van Dyke, I applaud William Powell. His sharp tongue, his irresistible charm and charisma, and his chemistry that he had with everyone in this film, especially his wife, Nora (Myrna Loy). The scenes that these two share show us how two people can have fun on a set, define themselves, as well as show us a new standard for the Hollywood married couple. They broke boundaries in cinema, while continuously showing us that no media is needed to expand their hype … a la Mr. and Mrs. Smith. Powell and Loy carried this film and skyrocketed it past the average point and into one that will remain deeply rooted within your mind as you watch other films of the same genre.

The Thin Man is another perfect example of what happens when good actors create great characters in a film that could have just passed through the average shelves. After witnessing the power of Powell and Loy, you cannot help but also see that others in the film are trying to reach their excitement. There is just this aura of "fun" and a new level of quality that is nearly absent in so much of what Hollywood today has to offer. I am a true believer that if you have actors that want to be in the film, they give their full 100% and it shows through the screen, then the others will follow suit. It is those films where the key players only give 10%, or we rely heavily on special effects that ultimately the film suffers. That was not the case here at all.

Finally, I would like to say that this film doesn't suffer from aging at all. I thought that when I placed it into my player that I would be constantly reminded of how old this film was. Knowing that it was made in the late 1930s, I thought that the jokes and comments would be dated and, perhaps less funny. I couldn't have been more wrong. The jokes had me laughing, the circumstances had me roaring, and the fabulous connection between Nick and Nora had me glued to the screen. This film had everything in place and executed it correctly. While the era was dated, the jokes were not. The words from Powell's mouth seemed refreshing and utterly hysterical. I was impressed, and it kept me glued to the screen throughout the entire film!

Overall, I couldn't have been happier about this movie. This is what the cinema is all about. Taking a classic story, adding in some refreshing and powerful characters, and keeping your audiences guessing until the final moment. The Thin Man was one of those films where I didn't know who-did-it until it was revealed. Imagine a funny film with a great caper that gives nothing away until the final climactic moment. I know to some that seems imaginary, but friends, I witnessed it here with The Thin Man. So, go grab your favorite girl, your best martini, and expect to have an exceptional two hours of monumental cinema!

Grade: ***** out of *****

What a pleasant surprise! Settling myself down to watch 'The Thin Man,' W.S. Van Dyke's highly-suspenseful, hard-boiled detective film, based on Dashiell Hammett's mystery novel of the same name, I had no idea that the film would be a remarkably well-written comedy, with the murders themselves taking second tier to the witty banter of Nick and Nora Charles (William Powell and Myrna Loy). Hilariously scripted, with flawless acting from all involved, 'The Thin Man' is one of the most refreshingly funny films I have seen in a very, very long time.

Nick is a retired detective, but he is purported to have been one of the best. Nowadays, he is quite content to sit back, help himself to another martini and pay little mind to the mysteries that may pass his way. When we first sight Nick, he has his back turned to the camera, and he is teaching the bartenders how to properly prepare a martini: "The important thing is the rhythm. Always have rhythm in your shaking. Now a Manhattan you shake to fox-trot time, a Bronx to two-step time, a dry martini you always shake to waltz time."

Nora, who can match wits with her husband at any time, is Nick's playful and exuberant wife, always itching for a little mystery and intrigue. The two have the sort of chemistry that we all hope for in a marriage, and is always the most fun to watch on screen. They have a playful understanding with each other; there is no obligatory family discord in this marriage, nor are there any secrets or mistresses (these evils are saved for the less "perfect" relationships in the film). Husband and wife take any chance they can to good-naturedly disparage each other and prove their own superiority, and, by the end of the film, they are about at level pegging. Walking into a bar on one occasion, Nora demands to know how many martinis her husband has already consumed. She immediately orders five more to be even with him!

The mystery itself is a bit of a muddle, but if you think too hard about it you'll miss all the clever repartee between our two detective spouses. When secretive inventor Clyde Wynant (Edward Ellis, who is the "Thin Man" referenced in the title, though most audiences and critics ostensibly referred to Powell's character as such) goes missing, and his former lover (Natalie Moorhead) is found dead, Wynant is considered the prime suspect. Eventually returning from retirement to clear his friend's name, Nick and an enthusiastic Nora enter a web of deceit, lies and betrayal to find the real murderer. Among the possible suspects are Wynant's ex-wife, Mimi (Minna Gombell), Mimi's new partner, Chris (Cesar Romero), a petty thief, Joe Morelli (Edward Brophy) and a shifty criminal, Arthur Nunheim (Harold Huber). Having finally come to a conclusion about who the murderer is, Nick invites all the prime suspects to a dinner party at his place, announcing to everyone at the beginning of the meal, "the murderer is right in this room. Sitting at this table! (and then to the waiter) You may serve the fish."

'The Thin Man' was nominated for four Oscars at the 1935 Academy Awards (Picture, Director, Adapted Screenplay, Actor (Powell)), and spawned a respectable five sequels, a 1957 television series and a radio play. It also made a star of Skippy (later renamed Asta), the Wire-Haired Fox Terrier who accompanies the Charles' on several of their clue-finding missions. In terms of pure entertainment value, films do not get much better than this.

Having worn out much of the newer Christmas canon and being in the midst of an Agatha Christie kick, THE THIN MAN seemed like the just what the doctor ordered! After viewing, it definitely wasn't what I was expecting, but I liked it all the same.

The pros: Like other reviewers said, the chemistry between Nick and Nora is ELECTRIC. It's rare that old movies like this feature such a relatable, playful, silly couple; and their dynamic felt quite modern - you could tell that they were peas in a pod and really respected one another. The silly faces that they'd make at each other, the little jabs when people weren't watching... these actors must've had a blast working together, and it's wonderful to watch.

The cons: I found the mystery quite hard to follow. This was due, in large part, to a mixture of slow pacing and a cast full of (unknown to me) actors who happened to look a lot alike - I often felt confused as to who was who and if I had even seen someone before! This confusion led to the solving of the murder mystery plot being rather unclimactic (who was that person again?).

Ultimately, the chemistry of the actors carried this movie for me, and I would recommend it based on those grounds. I'm not sure that I agree that it should be classified as a Christmas movie, since most of the movie takes place after the big day, but if you're looking for a sweet, fun, intriguing classic to watch, this might be just what you're after.

This is one of my favorite movies from any decade. William Powell and Myrna Loy have such chemistry together and their expressions during their verbal sparrings are priceless. Under different circumstances it might be easy to dislike Nick and Nora Charles - they are the idle rich who spend their time overindulging in alcohol, having loud parties, and destroying their own property with air rifles at a time (1934) when much of America was starving through the worst part of the Great Depression. On top of that, Nick makes no secret of how appealing his wife's money is to him. However, the intricate plot, the couple's clever dialogue, and their chemistry draw you in and make their world even seem somewhat normal.

The Thin Man refers to Clyde Wynant, a somewhat absent-minded inventor, the chief suspect in what turns out to be three murders, and someone who only actually appears in the first 15 minutes of the film, never to be seen afterwards.

The Charles' get caught up in the mystery of Wynant's disappearance because his daughter Dorothy (Maureen O'Sullivan) is an old friend of Nick's and asks Nick for his help. Wynant has told his daughter that he is going off somewhere secret to work on an invention so that nobody can steal it from him, but promises he will be back before Christmas so he can be present at her wedding. However, Wynant has never resurfaced and nobody has heard from him. Nick initially has no interest in continuing his former occupation of detective - he is much more interested in having a good time - until a series of circumstances and his own wife's urging draw him into the mystery and back into his role as private detective.

The film is full of unsavory yet interesting characters. Wynant's family is truly dysfunctional. His son is an oddball bookworm obsessed with abnormal psychology, his ex-wife has remarried a gigolo who appears to be hiding a questionable past and finds the idea of working for a living insulting, and Wynant's girlfriend is a very greedy and aging ex-flapper who steps out on Wynant with other men whenever she thinks he isn't noticing. The only virtuous characters in the film seem to be Wynant's daughter and her fiancé. In short, there is no shortage of possible suspects and worthy victims. Even the police in the film are unappealing - they are very good at getting rough with people and performing illegal searches, but not very quick on finding clues or making even obvious deductions. The constantly semi-inebriated Nick Charles has no problem running circles around them and turns out to be both brave and brilliant in his role as sleuth.

I recommend this film to anyone who likes a good murder mystery laced with a bit of dark comedy.

Ah, the movie that started it all: fourteen beloved William Powell and Myrna Loy films with banter, laughs, drama, and above all, heart. The Thin Man series is just like any other whodunnit, but with a married couple who obviously love each other. In fact, when the leads went traveling to promote the film in various premieres and festivals, hotel managers were shocked to find out they weren't actually married in real life! A second room (non-adjoining) was required.

Nick and Nora Charles, the life of the party in society, want for nothing. They have a darling little dog, Asta, enough money, interesting friends, and an endless supply of martinis. This series is also famous for the amount of liquor William Powell can drink and still function. Bill used to be a detective, and he's lured back to his old job by a friend and former client. The man he's looking for is actually nicknamed "the thin man" because of his description, but the phrase became so popular, the series quickly transferred it to Bill himself.

You'll see familiar faces in each of the six installments. In this one, you'll see Maureen O'Sullivan, Nat Pendleton, Edward Brophy, Porter Hall, and Cesar Romero in only his second movie. If you haven't seen at least one of the Thin Man movies, you're missing out on some classic cinema.

... most probably because it's a film that suffers terminal cirrhosis - like many of its characters must have done by the amount of booze they consumed.

Of its time and occasionally amusing, in that context, if you've had a few, but so overwhelmingly superseded by what was to follow; this is more of a stage theatrical performance committed to film as much as anything else - and it shows. Can only assume that those who are so fond of it today yearn to return to the days from whence it came - sentimental nostalgia fine but not a 9 or 10 rated film by a long chalk.

Often said, but still a marvel to watch, even after 72 years. If you want some intelligent fun with that since long vanished Hollywood class, catch this one. This comic murder mystery introduced the world to one of the most perfect screen matches I know, the incomparable duo William Powell and Myrna Loy. Shot by Woody "one shot" van Dyke in just twelve days with many of the first takes used in the film, it still comes across as wonderfully fresh.

The story revolves around William Powell as detective Nick Charles, who tries to crack the case of a missing scientist, together with his wife Nora (Myrna Loy). But forget about this whodunit aspect of the film, it's not that important. It's just adding to the fun. It's all about the marvellous interaction between Powell and Loy, simply the most wonderful screen pairing ever. Their constant courtship is a marvel to look at and watching the wonderful chemistry burning of the screen leaves me in a pleasant happy daze, slightly intoxicating.

They must be one of the very few boozy characters in the history of cinema, that seem to be drunk all the time and be continuously happy at the same time. On a continuous drinking frenzy, they're either perpetually pixillated or fighting the hang-over. Never marry someone who doesn't join you when drinking. Nora certainly does.

When they meet up in a restaurant Nora asks: 'Say, how many drinks have you had?'. 'Uhmm, this will make six Martini's.' 'Alright, waiter, will you bring me five more Martini's. You can all line them up right here.'

Between the endless string of cocktail parties their lives seem to consist of, he still needs to crack a murder case, as a journalist remembers him. 'Do you know anything about the case?' 'Yes, it's putting me way behind in my drinking.'

A stellar supporting cast, a witty script with wonderful dialog, style and class to spare, and most importantly, the one of a kind chemistry between Powell and Loy all contribute to the enjoyment of this film. A real winner.

Camera Obscura --- 9/10

1934 was a super-important year. That's because up until then, Myrna Loy's rise to fame was very slow. While her parts had improved, she still was a second-tier actress (at best) until this great film catapulted her to fame. It was also an important year because it marked the premier of the best romantic-comedy-mystery films of all time--all thanks to the movie THE THIN MAN.

So why is this such a special film? Well, the writing and chemistry are just perfect here. William Powell and Myrna Loy were absolutely perfect together--with amazingly witty and fast dialog. The only other film that might be better in this regard is HIS GIRL Friday. Asta the dog also provided some welcome comedy relief as did the supporting characters--they were just great. Never before or sense did Hollywood get it so right. Even with the wonderful follow-up Thin Man films, they never quite reached the same pinnacle of success.

On top of all these positives, the mystery itself was excellent--something that, unfortunately, often gets lost in these style films.

Give yourself a treat and watch this film. If you are hooked, and I assume you will be, then try watching the entire series. Too bad they didn't make even more of these wonderful films.

UPDATE: Originally, I scored this one a 9. Tonight I went to the local theater where they occaisonally show old films and "The Thin Man" was playing. The amazing camerawork and delightful dialog bowled me over and I think a score of 10 is merited.

I am not really a fan of comedies, but I can definitely appreciate a good one when it comes along. Often times comedies only really work when they are combined with another genre (in the case of this film, the 'hard-boiled detective' film)... and sometimes they achieve brilliance.

In what might have otherwise been a sort of mediocre movie, Bill Powell and Myrna Loy breath a phenomenal life into the roles of Nick and Nora Charles, a rich woman and her dandyish (but dangerous) lush of a detective husband. This film entertains on so many levels and establishes (not exploits) so many cliches that it should be mandatory viewing in any introductory film class.

The plot of The Thin Man is pretty much peripheral to the performances by Low and Powell, but it is involving in its own way. Murder, loose women, police brutality (fun police brutality), adultery, polygamy, science, swindles, two dinner parties and drinking... lots and lots of drinking... all combine into one hell of fun movie. There is even a fair amount of tension in the film and all kinds of great one-liners and set-ups.

This is quite simply a phenomenal film, lots of fun (even for Gen Xers like myself), and well worth watching.

William Powell and Myrna Loy share a wonderful chemistry in this very close adaptation of the Dashiell Hammet novel. The interplay between Powell & Loy comes off very natural, as if they WERE married.

Nick is a lovable lush with a sharp mind and Nora is rich beyond imagination, with a freshness and innocence not found in today's movie characters. The film has plenty of site gags with some occasional drama interspersed.

All of the characters are made believable by the actors and the direction is superb. The plot revolves around the disappearance of Prof. Wynant and everyone seems to be involved in helping him stay missing. Nick reluctantly takes the case and the fun really gets going. Plenty of misdirection keeps you guessing "whodunnit". The now classic gathering of all suspects lets you know. A really odd family, some "shady" characters, and William Powell/Myrna Loy's acting make this one great! This is the first in The Thin Man series, and, in my opinion, the best.

Rated 10 in my book. A must see for fans of comedy and classics.

Where are these kinds of movies nowdays?

Never mind trying to follow plot, instead follow the banter between Nick and Nora Charles, as portrayed by William Powell and Myrna Loy in this delightful comic mystery. Between the banter and the sexual innuendoes, the constant guzzling and shennanigans, this sophisticated couple actually do manage to solve a murder or three.

This seventy year old film still holds up well today and the reason is that the screenwriters knew how to write dialogue and character and were not dependent on action sequences to fill in the blanks like so many of today's screenwriters and directors, who are too busy chasing the big dollar to make a movie that is going to stand up over time. How many of today's action movies will we be watching seventy years from now?

Admittedly, there is some clumsy acting by some of the minor characters, at least viewed from today's point of view, but don't let that, like the plot, get in your way or you will miss out on what this charming film has to offer. And say, who was that Thin Man, anyway?

Subtle without being boring, funny without being silly, "The Thin Man" shows the best that a movie can be. William Powell and Myrna Loy get the roles of a lifetime as the couple investigating a murder. I especially liked how she sassed him occasionally. And that dinner? One of the cleverest scenes in movie history. And of course I'd be remiss in ignoring their dog Asta. That pooch is a character unto himself (he occasionally appears as an answer in crosswords).

I don't know if I'd call it the year's best movie, but it deserved its Oscar nods. If it's from a Dashiell Hammett work, you know that it's gonna be good. I now hope to see the rest of the series. The rest of the cast includes Maureen O'Sullivan (Mia Farrow's mom) and Cesar Romero (a few decades away from playing the Joker).

All in all, a great movie in every way. You can't call yourself a cinephile until you've seen this at least once.

Comically-sparring married couple Nick and Nora Charles manage to solve a murder mystery while retaining their upper-crust charm and sophisticated etiquette. Hugely popular bit of screwball hasn't dated too badly, with stars William Powell and Myrna Loy very loose and charismatic. Followed by five sequels, this mixture of slapstick and suspense nearly loses its balance, yet the screenplay (by Albert Hackett and Frances Goodrich, from Dashiell Hammett's book) manages to keep it all on an even-keel. Powell, in particular, is well-attuned to the changing rhythms of the handling and easily steals his scenes. **1/2 from ****

Am I the only person who doesn't have a Pavlovian reaction to the original "Thin Man" film? I speak as a great fan of Powell/Loy, MGM's product, Hunt Stromberg, and Woody VanDyke's work, but there is a huge difference in pace and style between this film and all of the others in the Thin Man series. The best I can figure is clumsy direction, a hasty schedule, or both.

Roger Ebert and others comment on the crisp direction, stunning photography, and pace, but I see just the opposite. This film was shot in 12 days. Maybe that explains how harsh, dark and poorly lit the first scenes are the involve Wynan. I'm thinking that they didn't really get proper sets built, and covered it by not lighting properly.

Then there's the pace. Most of the Thin Man films flow like a river, always moving forward. In this film, the plot based scenes are like another movie entirely. Wynan is an awful person, hard and ugly. His relatives are daffy without being charming. But then there's the utter joy and delight of Powell and Loy exploring and falling pretty well into their characters.

Much of their scenes are superb, but the pace is oddly uneven for any MGM film of the time, and very off for the Thin Man films. It seems that by the last scene, the rhythm is there, but the film is not as good as I want it to be. Maybe the genuinely mean and dirty plot got in the way? I just can't figure out what's wrong with the film.

Thank goodness that the MGM execs saw more in it than I do!

I can see why this is some people's favourite film. As you'd expect from MGM, it's classy, slick and stylish and has a surprisingly modern feel. William Powell and Myrna Loy have a lovely naturalness which makes them seem that if they're not quite your oldest friends, they are at least people you'd like to have as friends. Years later the sublime Moonlighting with Bruce Willis and Sybil Shepherd demonstrated how a comedy drama could still be brilliant however shaky the plot is by focusing solely on the warmth and empathy of the characters but here the magic isn't quite there.

The story is simply not interesting or engaging enough. Furthermore if you take away the two main stars you end up just with this fairly dull story with countless indistinguishable grey characters - even Maureen O'Sullivan who usually adds a bit of sparkle is terribly underused.

I don't feel inclined to watch the sequel, After the Thin Man - I think I know exactly what that's going to be like.