From Headquarters

GEORGE BRENT doesn't display much enthusiasm for his role as a police detective who finds that his ex-sweetheart (MARGARET LINDSAY) is the chief suspect in the murder of a wealthy playboy. There are several suspects under police grilling and all of them tell their stories in brisk flashback technique that keeps the plot spinning in all directions so that all options are on the table in guessing "who done it." It's a ploy that doesn't work well here. A more straight-forward approach would have worked better in keeping the plot from getting too cluttered. By the time we reach a conclusion, the viewer is left hoping the story is over once and for all. What does work is showing the behind-the-scenes methods the crime labs perform in solving a case.

It's a programmer given what little life it has by a capable cast of Warner supporting players including Ken Murray, Hobart Cavanaugh, Dorothy Burgess, Eugene Palette, Theodore Newton and others and benefits from brisk direction by William Dieterle.

Summing up: A more polished script would have helped and George Brent seems too detached on this occasion to make much of his detective role.

In the 1930s, detective and crime stories were a dime a dozen. Very few of them were about realism but about entertaining the audiences. Because of this, there were a lot of clichés you could expect in a film about murder....such as the cops being idiots, the bad guy confessing to everything at the end of the film even though the good guys could not prove they did it and police procedures were practically non-existent...they just kept arresting the wrong people until they got the right one!! The films don't age well because of all this and there is a serious sameness to them. Fortunately, among these many cliché-ridden stories is one like "From Headquarters"!

The film begins with a murder. Non-stupid detectives begin investigating and you follow the case from start to finish. You see them taking fingerprints, searching files and early computer systems and questioning various witnesses. While the guy played by Eugene Palette is a bit like the dopey detectives (in fact, this same actor played dopey detectives in several films), he's not over the top and is competent. His boss (George Brent) is quite competent and clever...like you'd hope a detective would be.

The bottom line is that this film is extremely well written, has much better than usual acting and has aged very well. The actors seem more realistic and less like archetypes in this one. Plus, it is fascinating seeing how thing have and haven't changed over the last 80 or so years. Well worth seeing.

There are two cases being investigated here. One is a safe cracking case, and the other the murder of a wealthy playboy that was initially thought to be suicide. These two cases coincide.

In the first case the suspects are narrowed down by entering criteria into what passed for a primitive computer - without semiconductors. The murder case is more complex. The police start with the playboy's fiancee, Lou Winton (Margaret Lindsay), and there just get to be more and more suspects from there. The complicating factor is that Lou was homicide detective Stevens' (George Brent's) girlfriend before she was the playboy's fiancee.

Fingerprint technology, ballistics, autopsies, and blood testing are all mentioned. And like any WB film of the era there is an interesting cast of supporting characters running around - Hugh Herbert as an overenthusiastic bail bondsman, Ken Murray as an obnoxious crime reporter, Edward Ellis as a medical examiner who loves his work, and Dorothy Burgess as a crazy woman - she did that kind of role so well.

Eugene Pallette is in one of his less cuddly roles as Sgt. Boggs who seems to want arrest everybody for the murder. And you get to see something I don't think I've seen before in a 30s film - the police switchboard employs entirely male operators. At a little more than an hour it doesn't wear out its welcome, and I recommend it.

FROM HEADQUARTERS (1933) is a very interesting movie about a police investigation into a murder. The action takes place entirely within police headquarters, as cops interview suspects and scientists analyze evidence.

The movie is short and sweet (just over one hour long), filled with an entertaining cast of characters (ranging from policemen to news reporters to bail bondsmen), and quite enjoyable. It offers a fascinating look into the cutting-edge forensics of the day (how science was used to solve crimes). The movie shows how fingerprints are obtained and matched up. It mentions blood testing and autopsies. And there's a neat look at ballistic analysis (comparing marks on fired bullets).

George Brent, Eugene Palette, and Henry O'Neill play the police investigating a murder case. They parade in a string of the dead man's associates and each offers their piece to the puzzle of what turns out to be a very eventful night for the deceased. Each successive suspect's story is shown in a short point-of-view flashback, picking up where the last witness left off. The "whodunit" aspect is a little convoluted, but as the day goes on, developments in the lab shed new light on the case.

Edward Ellis (THE THIN MAN) plays the lead scientist, who relishes each breakthrough in the "lovely murder". It seems like Warner Bros. wanted to show theatergoers some of the cool new forensic strategies and technologies, and even though science has come a long way since 1933, it's still an interesting look back in history.

FROM HEADQUARTERS is not a top-shelf murder mystery or police procedural, but it's quick and fun, with some racy pre-Code material, a lighthearted sense of the macabre, and a unique historical value.

Directed by William Dieterle (THE STORY OF LOUIS PASTEUR - 1936, THE HUNCHBACK OF NOTRE DAME - 1939) and also featuring Hugh Herbert, Robert Barrat, and the lovely Margaret Lindsay.

6+/10

When a Broadway playboy is found dead, it's first thought to be a suicide, then a murder. Police Lt. Jim Stevens (George Brent) is on the case.

Lou Winton (Margaret Lindsay), a Broadway performer with whom he's in love, is one suspect, but he's sure she didn't do it. It's obvious from her first questioning that she's protecting someone. It turns out to be her brother.

Then there's a coke addict, Dolly White (Dorothy Burgess). And what about Anderzian (Robert Barrat)?

This mystery moves right along, and is more interesting than many of these films due to the use of actual police techniques from those days - examining a bullet, getting fingerprints, and my favorite, the use of IBM punch cards and a sorting machine to search a database. This may be the first display of that technology in film.

Not only interesting, but fun to see, and also to note that those techniques in one form or another continue to be used.

George Brent is handsomer, I think, without his mustache, and does a good job here as an intelligent inspector.

Hugh Herbert is on hand as a bail bondsman, and Frank McHugh is on very quickly at the beginning.

This is an old one!

See if it is on TCM - you'll enjoy it.