The Greene Murder Case

This film begins with an old and extremely ill widow by the name of "Mrs. Tobias Greene" (Gertrude Norman) lying in bed waiting for the family lawyer to discuss her late husband's will with the rest of the family. As it so happens, none of the adult children like one another and, as a result, whenever they get together there is quite a bit of acrimony amongst them. This is especially true with an adopted daughter by the name of "Ada Greene" (Jean Arthur) being especially disliked by both Mrs. Tobias Greene and her biological daughter "Sibella Greene" (Florence Eldridge). Further contributing to this mutual disdain among each of them is the fact that the will specifies that all of the money will be divided equally among all five members of the family. Things change, however, when on the very night they all meet at the family mansion, one of the adult sons named "Chester Greene" (Lowell Drew) is shot and killed in what everybody believes to be a botched burglary attempt. Everyone, that is, except for the detective in charge of the case by the name of "Philo Vance" (William Powell) who suspects that one of the members of the family is involved--and his suspicions increase as the death count within the family rises. Now, rather than reveal any more, I will just say that this turned out to be an okay mystery film which benefited by several twists and turns along the way. Admittedly, there were a couple of scenes which were a bit too unrealistic, but even so the film managed to pass the time fairly well and I have rated it accordingly. Average.

Philo Vance (William Powell) is back in action solving murders. He, D. A. John Markham (E. H. Calvert), and the rotund Sgt. Ernest Heath (Eugene Pallette) were delivered a doozy of a murder mystery. Several members of the Greene family were killed at different intervals.

First, Chester Greene (Lowell Drew) was shot to death while Ada Greene (Jean Arthur) was wounded by a gunshot. A week later Rex Greene (Morgan Farley) was killed. By the time it was all said and done three members of the Greene clan were murdered and with it at least two early suspects.

I didn't know who the murderer was from the start, but I certainly knew who I wanted to be the murderer(s): Ada (Jean Arthur) and Sibella Greene (Florence Eldridge). Both of them were annoying characters that I didn't care for at all. Ada because she was so posh and delicate. In a way she wasn't any different from a lot of the women on screen in that era, but I still don't like it. She was the proper type who breathed heavily and fainted at the slightest displeasing news. Sibella because she was a smug flippant woman who didn't place importance on anything.

Also of note as far as suspects were Dr. Arthur Von Blon (Ullrich Haupt),the family doctor and Sibella's lover, Sproot (Brandon Hurst), the head servant, Mrs. Gertrude Mannheim (Augusta Burmeister), another servant, and Hemming (Marcia Harris), also a servant.

As you can tell by the many servants the Greenes were a wealthy family, so naturally anyone of them could've had a motive especially since so much was at stake. The deceased patriarch, Tobias Greene, had all of them in the will contingent upon certain conditions.

Unlike "The Canary Murder Case," this one was not as obvious to me. I had my suspicions, but you gotta let Philo figure it out

Free on YouTube.

As a life long fan of murder mysteries in general and William Powell in particular, I was thrilled to finally get a chance to see this early sound Philo Vance mystery. A follow-up to Paramount's THE CANARY MURDER CASE (1929), this was adapted from "SS Van Dine's" third Philo Vance novel(originally published in 1928 to runaway business) and also stars the wonderful Eugene Pallette as Sergeant Heath and a young Jean Arthur in the ingenue role of Ada Greene.

The intricate plot finds gentleman detective Philo Vance assisting his old friends District Attorney Markham and Sergeant Heath in a case of multiple and attempted murders at the Greene Mansion in New York's Upper East Side. It seems that someone is killing members of the Greene family, ostensibly for a stake in the large inheritance left by the long dead patriarch, Tobias Greene, whose fortune was accumulated (we come to suspect) by less than honorable means.

I'll admit that, although anxious to finally see this film after reading about it for years, I wasn't expecting much. I had heard that the film was talky, creaky, and static, as many early sound productions seem to modern sensibilities. Perhaps it was because of these lowered expectations, but I was pleasantly surprised by some of the great stuff found here. The film abounds with wonderfully creepy atmosphere and a real sense of menace, and the climax, set in the rooftop garden of the formidable Greene mansion (a fantastic set, by the way), is thrillingly shot, with trick photography and a last minute-in the nick time-rescue.

The screenplay is a faithful simplification of the Van Dine novel (the book's first two murder victims, for example, are compressed into one and the character of Julia Greene is jettisoned) and Powell's Philo Vance is much more likable than his literary counterpart. The identity of the murderer, while possibly surprising to the relatively innocent audiences of 1929, is fairly easy to spot by the more jaded modern viewer raised on scores of mysteries and taught to always suspect the least likely. This does not detract from the fun.

Playing the part of Philo Vance was a huge boost to Powell's career, and allowed him to move from villainous heels to debonair man-about-town roles. After a parody appearance as the detective in 1930's PARAMOUNT ON PARADE, Powell played Vance twice more [in Paramount's THE BENSON MURDER CASE (1930) and Warner Bros. THE KENNEL MURDER CASE (1933)] before moving to MGM and forever being associated with the role of Nick Charles in THE THIN MAN series (an even BIGGER boost to his career!)

Yes, the film is invariably hampered by the limitations of the early sound era, but once the modern viewer accepts these limitations, there's a lot to enjoy here.

1929's "The Greene Murder Case" was the second of three early talkie Paramounts starring William Powell as Philo Vance, coming six months after the first, "The Canary Murder Case," eight months before the third, "The Benson Murder Case." Storywise, it's perhaps the best of all three, while technically it's a huge improvement on its predecessor, the pacing agreeable, the acting more natural, and Powell again joined by District Attorney Markham (E. H. Calvert) and Sgt. Ernest Heath (Eugene Palette). Also returning as a different character is young Jean Arthur, in a far more substantial role than her cameo in "The Canary Murder Case." The Greene household, consisting of bedridden matriarch and four offspring, are beholden to the will of the late patriarch Tobias Greene, requiring everyone to remain under the same roof for 15 years before the estate can be divided evenly between them. One dark midnight, both Chester (Lowell Drew) and Ada (Jean Arthur) end up shot (Chester fatally), but the robbery motive piques the curiosity of Philo Vance, particularly as the two shots were fired minutes apart. Always intrigued by the psychological aspects of each case, Vance has his hands full under this roof, where Tobias kept an extensive library on the history of crime. He may wind up solving this one by having only one suspect left! Florence Eldridge (Mrs. Fredric March) is an assured scene stealer, but her doctor boyfriend is played by dull as dishwater Ullrich Haupt (hard to believe that two women would be interested in him). Powell is far more involved here, and his amusing rapport with Eugene Palette never goes over the top. Struggling in a role few actresses could credibly pull off, beautiful Jean Arthur was still an unknown quality at the time, but remained one of Powell's favorite leading ladies (later seen to best advantage in "The Ex-Mrs. Bradford").

William Powell returns as Philo Vance, this time under the direction of Frank Tuttle. The Greene family -- matriarch Gertrude Norman, daughters Florence Eldrege and Jean Arthur, sons Lowell Drew and Morgan Farley, are required to meet every year to satisfy the will of Miss Norman's late husband; after seven years, any survivor inherits, and the library goes to the New York Police Department. But following the latest get-together, they are murdered one by one. Sergeant Eugene Pallette calls in Powell to help him investigate.

Unlike the earlier entry in the series, this was planned as a talkie from the beginning. Because of the still-primitive sound equipment, it is a visually dull movie. Like most mysteries so constrained, it is very talky. The cast, composed of former stage actors, offer restrained performances under Tuttle. While the mystery is a good one, there are too many clues offered after Powell has made his conclusion. Its principal interest is in the performers themselves, several of whom would become important stars in sound films.