The Lady in the Morgue

Preston Foster plays a PI hired to investigate the case of a missing body. It's a fast-paced mystery, though a little too fast. It can be confusing with so many characters, and though the dialogue is snappy and humorous, it lacked clarity. Still it's enjoyable, and a great insight into the era. Plus, it's good to see one of my favourite 1940's b-western star Wild Bill Elliott. I didn't recognise him at first.

Part of the Crime Club series, and based on an original by Jonathan Latimer, this nifty little mystery is often cited as a model of 30s B-movie adeptness. It was directed by the unjustly forgotten Otis Garrett (who died young), a former editor who uses flash-pan edits and other visual tricks to maintain a breakneck pace -- so fast that it's pretty difficult to follow the complex plot. Although a bit too reliant on dialog scenes, there are enough effective wisecracks, bizarre demimonde characters (shifty undertakers, dour taxi drivers, carefree taxi dancers) and risqué asides (apparently, the production code enforcers often neglected these low budgeters) to raise the quality well above the norm. One side benefit is an appearance by a young Barbara Pepper, sassy and sardonic as ever, but surprisingly lithe and seductive. Soon-to-be-famous Stanley Cortez provided the cinematography.

"The Lady in the Morgue" is the 3rd of 11 Crime Club Mysteries...mysteries based on crime novels under the same umbrella title.

The story begins with a woman found dead...hanging in a cheap hotel. Bill Crane, a private detective, responds to the case, as he thinks she might actually be a missing rich woman. But when he goes to the morgue to check out the body, the attendant there has been murdered and the corpse has been stolen! Clearly this is no run of the mill case for Crane.

This is a decent but otherwise unremarkable mystery. During this era, Hollywood made hundreds (if not thousands) of them and while it's slightly better than average (the acting and production values put it above similar films from Monogram and other similar studios), there's little that distinguishes it over the rest of the lot...and much of it is because Crane needed to spend MUCH of the finale of the film explaining everything! At least Crane is a private eye...in most of these sorts of films they are newspaper reporters or amateurs! Well made but one you don't need to rush to see.

A woman hangs herself at a hotel, and no one can identify her. PI Preston Foster is hired to look into the matter by a wealthy family. Soon the corpses and the mysteries pile up in this nicely tangled CRIME CLUB entry.

It's based on a mystery series by Jonathan Latimer, and it's a good mystery. Even if the screenwriters and director Otis Garrett can't put much snap into the dialogue, and there's an awful large amount of backscreen projection, the good cast keeps things moving along in a confused way throughout. Frank Jenks is Foster's stooge, Patricia Ellis is the leading lady, and the usual fine supporting players show up in this Universal programmer.

Latimer started turning out screenplays the next year, and seems to have peaked in the mid-1940s with nicely confusing noirs like THE BIG CLOCK. He would contribute to the PERRY MASON TV series, and die in 1983 at the age of 76.

That's how fast the movie unfolds. I think I followed the plot well enough to understand what happened, but I'm not sure. As near as I can tell, there was one unresolved murder, but it didn't affect the story one way or the other. It was also never explained how Preston Foster could be a suspect in one of the murders - he was a detective trying to solve it, after all. I guess it was to inject some humor and make the Police Dept. look comical. Never understood why 30's movie audiences bought the premise of mixing comedy into murder mysteries. To me they're like oil and water.

There are lots of unexplained bits of trivia, coincidences and non-sequiturs, too many to mention here, but that kind of thing devalues the storyline and serves only to break the viewers concentration - and with this picture one needs all of one's concentration. The cast was serviceable, especially Preston Foster as the hero, and it was fun to see Bill Elliott before he became a cowboy star. But the break-neck pace makes me think I should see it again, to catch what I missed the first time - so my rating is a holding grade. I'll get back to you.