Charlie Chan at the Opera

Fans of Charlie Chan, Boris Karloff or both should find little to dislike about Charlie Chan at the Opera. Count me as someone who likes Karloff a great deal and gets a fair amount of pleasure watching the Charlie Chan film series. The general consensus is that Charlie Chan at the Opera is one of the best of the series, and it is a consensus that I agree with wholeheartedly. If there is anything that didn't work very well, it was that that Boris Karloff's singing was dubbed very obviously with the sloppy lip synch and the singing voice sounds very little like Karloff when he speaks(Karloff probably did have some singing talent, but there is a lot of truth in what has been said already that he probably wouldn't have been an actor if he was THAT good). Tudor Williams does dub him brilliantly though, the dark velvety quality(that is fairly reminiscent of the great baritone Lawrence Tibbett) of his voice makes him captivating and thrilling to listen to. That aside, the film is very pleasing to look at, well shot with effectively used settings. The Mephistopheles costume was really striking and Karloff looks very imposing(he always did though) in it. The music is grandiose, playful and beautiful, the opera Carnival was composed especially and it is well-utilised and is one that you wish made appearances on the opera stage. Apart from the lip-synch, Karloff is still very good here, he is charismatic and formidable but clearly knows how to have a good time. Warner Oland is spot-on as a character that suits him to a tee, in particular he really relishes his hilariously droll lines and it shows in his sly delivery of them. The dialogue is laugh-out-loud funny, Charlie Chan's lines are like little bon bons and you have to love the nod to Karloff and one of his most iconic roles. All the acting is very good though. The scenes with William Demarest are every bit as fun as those with Karloff and Oland. The mystery parts of the story are well-paced, have good amounts of suspense- not too obvious or predictable- and keeps your "little grey cells"(in the words of Agatha Christie and her immortal creation Hercule Poirot) working, complete with some great atmosphere. Overall, non-stop entertainment from start to finish. 9/10 Bethany Cox

Murder, mayhem, and a load of Chinese maxims flood an opera house in San Francisco where a star baritone and a star diva are killed. The police are on the case and they also have asked for the help of Honolulu detective Charlie Chan. This is a real entertaining, fun film to watch. Warner Oland goes through one Chinese proverb after another to remain enigmatic, and yet shed some light on the proceedings. Oland does a nice job as Chan and adds subtlety to not so subtle occurrences. A mad man has escaped from an asylum and has hidden himself within the opera house for reasons unknown to the police. The man is played by none other than the great Boris Karloff. Karloff is a bit restrained in his performance but does add some menace and depth. Watching Karloff sing baritone(with someone's dubbed voice) is quite a sight! Keye Luke is back as Chan's over-eager beaver son. William Demarest plays a somewhat annoying policeman who discredits Chan's abilities really for being an Oriental. The subtle prejudicial undertones of his actions are a bit disturbing. A good script with plenty of humour and lots of Chan!

My favorite of the Warner Oland Chans, Charlie Chan At the Opera, is an excellent entry in the series. It begins like a horror film, on a stormy night, as Boris Karloff overcomes a guard in a sanitarium, then escapes. We are then introduced to a motley group of characters, including a temperamental opera diva, who has been recieving threatening notes, then Charlie and son arrive, and soon the action moves to the opera house, where the film remains. Karloff turns up backstage, where he is hiding, above the dressing rooms, and we soon learn the truth: he is a famous singer who had supposedly died in a fire but escaped, and has been suffering from amnesia ever since. He has only recently begun to remember who is, and is now looking for the person who tried to kill him.

There's a lot of plot in this film, and it isn't brilliantly developed. What makes the movie so watchable is the acting, which is uniformly good (and in Karloff's case outstanding); the music, courtesy of Oscar Levant, who wrote the score; the set design, which is marvelous; and occasionally the dialogue, which is often funny. Director Bruce Humberstone juggles all these elements masterfully, making the movie hum. Karloff brings gravitas and real menace to his part, and elicits pity as much as terror. Oland is his usually Buddha-like self, delivering his fortune cookie homilies with aplomb. William Demarest is the Irish cop this time around. As was so often the case with murder mysteries, a suggestion of the supernatural helps the mood enormously. Karloff isn't quite the phantom of the opera, but people react to him as if they've seen a ghost, since they all assume that he's dead.

The movie is a very accomplished piece of work. Its theatre and backstage atmosphere give it the feeling of a show within a show, and it's a pretty good one whichever way you look at it.

This entry in the long-running and hugely popular 'Charlie Chan' series takes us into the distinguished - and a bit decadent - world of grand opera: famous soprano singer Lilli Rochelle, eccentric and somewhat conceited, is on the brink of hysteria because she's received a death threat for the very same day - her opening night in Los Angeles, after being away for seven years. And on exactly the same day, an amnesiac breaks out of a mental asylum after seven years; because, as soon as he sees her picture in the papers, he seems to remember something...

Meanwhile, we learn that second soprano Anita Barelli is madly jealous of Lilli - not only because she's the star, but mainly because she's got an affair with her husband! And then there's a young couple hanging around backstage all the time, for some reason trying by all means to get to Lilli - but then the opera performance starts, and very soon a murderous drama REALLY worthy of any opera libretto begins to take its course...

Except for the comic relief provided by Lee Chan and the cops, this film is pretty earnest, at times dramatic, if not even melodramatic; but we must undoubtedly admit that Boris Karloff probably plays one of the BEST roles of his life here: mad, full of hatred, and then again pitiful and sympathetic... While in other movies he usually only showed parts of his full acting range at a time - here he demonstrates them all in one!

This was my first-ever look at Charlie Chan. It wasn't one of his better adventures but I've seen worse, too. It sports a famous guest actor, Boris Karloff, and a semi-famous, if you will, actor in William Demarest.

Demarest plays a cop and his lingo and his prejudices are very early '30s. He couldn't say those lines (cracks about Asians) on film in this day-and-age.

The usual witty and profound Chan proverbs are in here and the usual loyal son (Keye Luke, number one son) is there to help. The ending left me a bit confused. Granted, I was tired when I watched this but Charlie's last-minute explanation and conclusions came so fast they confused me. I'd have to see this at least one more time to understand it. I think this is coming out on DVD soon and I'll get that and watch it again.

I'll always have a fond memory for this since it introduced me to this extremely entertaining film series. I've seen around 20 of them since this one and enjoyed them all.