The Plot Thickens

THE PLOT THICKENS (RKO Radio, 1936) directed by Ben Holmes, marks the fifth installment of Stuart Palmer's "Hildegarde Withers" mysteries Though James Gleason resumes his Inspector Oscar Piper of the Homicide Bureau, a role he originated in PENGUIN POOL MURDER (1932), followed by its sequels, MURDER ON THE BLACKBOARD (1934), MURDER ON A HONEYMOON (1935) all starring Edna May Oliver as Hildegarde Withers; and MURDER ON A BRIDAL PATH (1936) with the recasting of Helen Broderick as Hildegarde Withers. While Broderick made a fine substitute for Oliver, Miss Withers this time around is recast again, played by the miscast ZaSu Pitts. Having worked together in previous films together, Gleason and Pitts show they make a grand team. Overlooking the fact that Pitts is no Edna May Oliver, and James Gleason gets more screen time than Pitts, THE PLOT THICKENS is actually good enough installment to hold its own.

Starting traditionally with a prologue set in New York's Van Cortlandt Park, plot development begins with the introduction of various characters: Officer Cassidy (Lew Kelly), an astrologist who reads about horoscopes and asking those about their birthday; to Robert Wilkins (Owen Davis Jr.) arguing with his girlfriend, Alice Stevens (Louise Latimer) over her involvement with millionaire businessman John Carter (Richard Tucker). Threatened not to see him again, Alice goes against his wishes by telephoning Carter to meet with her in the park. Discovered inside Carter's Roadster, the over jealous Robert threatens Carter but is stopped by Cassidy. After resisting Carter's advances, Alice leaves only to hear a gunshot and finding Carter murdered. The following morning, Carter's body is discovered seated behind the desk in his library by his butler, Kendall (Arthur Aylesworth). Inspector Oscar Piper (James Gleason) and his assistant, Jim (James Donlan) are called to investigate. As much as Piper intends on solving this case on his own, crime solver Hildegarde Withers (ZaSu Pitts) appears with intentions to help Oscar. Others involved in the case are Marie (Barbara Barondess), the maid; Joe (Paul Fix), the chauffeur; and Theresa (Bodil Rosing), the cook. The Carter case soon gets more involved and interesting as Miss Withers comes upon a priceless Cellini Cup located at a museum leading to more mystery than expected.

For its crisp 67 minutes, the involvement of both park murder and international jewel thievery gets better as the story progresses. Even though Pitts doesn't attempt to carbon copy either Oliver or Broderick's mannerisms of Hildegarde Withers, she manages not to do any damage to her character even when performed in the best Zasu Pitts tradition. Though the series could have ended here, the studio resumed with one last try reteaming Gleason and Pitts for FORTY NAUGHTY GIRLS (1937). That entry may have its moments but not enough to resume for more installments or turn it into a grand finale. (**1/2)

From 1936, The Plot Thickens sure does - it starts as one thing and ends as another. James Gleason and Zasu Pitts star in this Hildegarde Withers mystery.

A man, John Carter (Richard Tucker) is found deceased in his study by his butler (Arthur Aylesworth). Inspector Oscar Piper (James Gleason) is called in and summons Hildegarde Withers (Pitts), who always has interesting deductions.

There are a few suspects. One is Alice Stevens. Another is her boyfriend, Robert Wilkins, who was seen arguing with Carter by the cop who patrols the park. There was also a Frenchman seen speaking with Carter.

The mystery deepens, as the murder seems mixed up with valuable museum pieces that have been stolen.

As Hildegarde, Pitts comes off as a little dizzy, but she doesn't miss a trick, is very self-sufficient, and works well with Gleason, who plays a smart cop.

There are some twists and turns, making this an enjoyable mystery.

We did not know that Hildegarde Withers plays golf, but our first view of Zasu Pitts in the role shows her practicing her swing (indoors, no less). It seems she had a golf date with her good friend, Inspector Oscar Piper, which he has unfortunately broken: a case has come up, and Miss Withers—quickly recovering from her irritation at being stood up—hastens to the scene to assist in the investigation.

James Gleason is Inspector Piper once again, and gives his usual entertaining performance as the irascible detective with a soft spot for the school teacher who follows him around offering unsolicited crime-solving advice. Zasu Pitts as Withers delivers the usual dry Withers comments and is true to the character in her impatience with fools. (A policeman mistakenly arrests and handcuffs her, then tells her anything she says may be used against her, to which she replies, "Anything I say may be used against YOU—and that'll be plenty if you don't unshackle me at once!") Pitts looks good in the role, and she and Gleason make a snappy team. Considering that this was Gleason's fifth film in his role but Pitts was brand new to hers, the interaction between the two is impressively smooth.

The plot involves the murder of one John Carter, who is shot dead in a parked roadster a mere moment after attempting to kiss a girl who didn't want to be kissed and then laughing at her. Suspects abound, of course; complicating the plot is a possible case of mistaken identity, as various characters were out and about, tailing and being tailed, at the time of the murder. Why again was the body dragged from the roadster and (eventually) deposited in the murdered man's own library? --The plot does indeed thicken.

A solid supporting cast includes James Donlan as a goofy cop with an interest in astrology; Paul Fix as a nervous chauffeur; and Louise Latimer, who had just played a different role (but a similar character) in the Withers mystery immediately preceding this one.

No classic, but certainly an entertaining hour for those of us who enjoy this kind of thing: great character actors, some good dialog, and a plot that's a bit more complicated than really necessary.

Inspector Oscar Piper (James Gleason) has a baffling new case on his hands when John Carter (Richard Tucker) is found dead in his study by his butler, Kendall (Arthur Aylesworth). There are several suspicious people in Carter's circle. Alice Stevens seems to be the last person to have seen Carter alive; her boyfriend, Robert Wilkins, was seen arguing with Carter by a cop; and there's a mysterious stranger with a French accent whom Kendall overheard speaking with Carter before the crime took place. The further the investigation moves along, the more baffling the mystery, but Oscar has a secret weapon that may help him crack the case: schoolteacher/sleuth Hildegarde (ZaSu Pitts) Withers.

Pitts and Gleason play very well off of one another. ZaSu is really good as Hildergarde, and though she's not as distinctive as Edna May Oliver, she gives her own spin on the character, and comes across a bit dizzy yet intelligent and self-assured, and witty. She appears to be inattentive and "all over the place", but in reality she's analytical and doesn't miss a thing. As one reviewer rightly said, it's Columbo style of misdirection.

As for the mystery, it's quite good, has plenty of twist and turns, interesting suspects, a neat buildup to the murder, and a satisfying denouement, though it can be a little convoluted at times.

Its a cliché, I know. But they don't make them like this any more.

And that's for a good, a very good reason: people wouldn't watch them, even those like myself who really value these.

What I'm talking about here are the comedy-mysteries that were pumped out in the 30s like TeeVee shows are now. Many of the same production values are used, in terms of economy and lack of depth. As with TeeVee stuff, the value is partially in the accretion of many similar movies -- in seeing one, you see some harmonization with hundreds of others.

We couldn't make these today because the genre was occluded by noir so far as the tone and by the hardboiled detective so far as story. These have not only changed movies, but the way we think.

So visiting these little films are somewhat like seeing that part of old London that's been turned into a theme park for tourists: something with a nostalgic. uncomplicated charm.

Of these, you cannot do better than James Gleason and the Hildegarde Winters things. These actually have a plot just complex enough to remind you that there is one. It doesn't "play fair" in that the complete solution uses knowledge the audience doesn't have. But in all these, the partial solution is telegraphed early.

I admit, I like the Hildegarde as portrayed by Edna Mae Oliver better in some regards. She's a more memorable character, and the notion of Gleason falling in love with her is as precious a joke as you can find.

But Zasu's got much better comic timing, so this has better jokes verbally.

Watch these, or something like them -- just like you might visit a "restored area" -- because such journeys are necessary to understanding film.

Ted's Evaluation -- 2 of 3: Has some interesting elements.