The Canary Murder Case

In what turns out to be his second talking picture William Powell introduces to the screen the character of debonair detective Philo Vance. Like his later Nick Charles, Powell as Vance likes to live the high life though he's not as big a drinker.

He gets called in by an old friend Charles Lane (not the acerbic character actor we all know from TV and films) but an older gentlemen who is concerned about the continuing involvement of his son James Hall with nightclub singer Louise Brooks known only as The Canary. This girl is a much cruder version of Lorelei Lee who is determined to marry wealthy and insure a steady income for her pleasures. Hall is engaged to good girl Jean Arthur, but can't keep away from Brooks.

She's got a whole gang of other men on the string as well and she also has an ex-husband so when Brooks turns up dead there are no lack of suspects for Powell to work through. The police however with dumb as a brick Eugene Palette as Sergeant Heath seem to zero in on Hall.

For those who like the vivacious Jean Arthur in the classic films she was yet to do you won't find her here. She's pretty wasted as a typical good girl part. One player who will be a revelation is Ned Sparks as Brooks's ex-husband who claims he's not an ex. He's not the lovable sourpuss we later saw in many films, but a rather vicious animal. Totally a surprise.

William Powell's perfect diction and stage training make The Canary Murder Case hold up well even today. Unlike so many of his contemporaries at this time, Powell seem to know instinctively how to play for the new talking picture camera. Sound made his career.

For those who enjoy nice detective stories with a closed ring of suspects, you can't go wrong with The Canary Murder Case.

Unfortunately, I had to make do with a rather poor copy of THE CANARY MURDER CASE, full of scratches and tiny breaks - not to mention the crackling recording, which I had to take as sportingly as I could, knowing that by 1929 the movie industry was only in its earliest forays into sound.

Those drawbacks aside, I found the joint direction by Tuttle and St Clair very competent and even imaginative, with most of the shooting done in dark interiors. Of course, to achieve that quality level the directors had to rely on a strong script - and that they had, courtesy of SS Van Dine and adaptation by the suggestively named Albert Le Vino (thankfully, there is far less drinking here than poor William Powell would have to endure as Detective Nick Charles 5 years later).

Ultimately, though, what I take away from this picture are the following pluses: Louise Brooks' incredibly timeless beauty (I have been in love with her since watching the silent PANDORA'S BOX); William Powell's nonchalant but classy Philo Vance, helped by peerless diction that must have been the envy of just about all actors in Hollywood in 1929; the clever dialogue that draws into a whodunnit that rates far more complex than I expected from a 1929 vehicle.

Definitely a must for fans of Powell, Brooks, Arthur, and whodunnit. 8/10.

One of the earliest private-eye talkies was "The Canary Murder Case," featuring William Powell as an American detective called Philo Vance ... later described by Raymond Chandler as "probably the most asinine character in detective fiction."

This type of "classic" murder mystery, transposed to an American location, must have seemed a natural for early talkie producers: few sets, all interiors, a lot of talk and little of that difficult action stuff which meant the camera might have to move around… Like filming a stage play, in fact. Here was an opportunity to set up the static camera in its enclosed booth and let the actors get on with the job…

Most of these films turned out to be the dullest ever made… It wasn't the fault of William Powell, who played Philo Vance with wit and elegance… It was the fault of a basic misconception in making private-detective movies…

Powell played Vance four times... Others who, followed him were: Paul Lukas, Edmund Lowe, Warren Williams, Grant Richards, James Stephenson and Alan Curtis

The interlude between silent movies and talkies was an interesting one. Paramount Pictures had vowed in October 1928 not to release any movies that weren't all-talkies--with the exception to those theaters not wired for sound yet. It had a number of silents in the middle of production that needed to have talking segments added to satisfy the thirst of a public loving what it had seen so far in the early talkies. Silent versions of these dialogue-filled pictures were still going to be made for more rural areas, but the talkie revolution was happening at a quickened pace in the larger cities. One of the first silents to be converted to a talkie was February 1929's "The Canary Murder Case." Production had wrapped up by October 12, 1928. Paramount called back all the actors and actresses who appeared in the film to reshoot the scenes involving dialogue. Everyone came back, with the exception of one.

Louise Brooks had demanded a hefty bonus to reshoot her portion of "The Canary Murder Case." Her character was killed 15 minutes into the movie, so there wasn't that much dialogue to film. Paramount refused to meet her demands. Her contract expired after the "Canary" filming ended before she traveled to Germany to accept German director G. W. Pabst's offer to act as the lead in "Pandora's Box." Brooks refused to return when the studio didn't budge on her bonus request. According to some, that refusal limited her movie opportunities in Hollywood when she returned two years later from Europe.

Paramount knew "The Canary Murder Case" was going to be a complete bomb unless it released a talkie version. In lieu of Brooks' abscence, the producers hired actress Margaret Livingston, the temptress in 1927 F. W. Murnau's "Sunrise," to be Brooks' body double in the wide shots where she was made up to look like her from behind while she was talking. They used other tricks, such as hiding Livingston behind a cabinet to appear as if Louise were conversing with a potential killer. But all that dubbing didn't fool viewers. Critic Louella Parsons, the Los Angeles Examiner critic, noticed. "You are conscious that the words spoken do not actually emanate from the mouth of Miss Brooks and you feel that as much of her part as possible has been cut. She is unbelievably bad in a role that should have been well suited to her. Only long shots are permitted of her and even these are far from convincing when she speaks." The angry executives at Paramount began to smear Brooks, falsely claiming the studio was forced to do the dub job because Brooks' voice was so bad, which wasn't the case.

"The Canary Murder Case" was based on a series of popular crime mystery novels by the pseudonym writer S. S. Van Dine (real author: Willard Huntington Wright). The 1929 film kicked off a string of 16 movies over 20 years, with Detective Philo Vance solving every case. Actor William Powell appeared as the detective in four of the first five movies. In "Canary," Brooks plays a stage girl, Margaret O'Dell, who loves married men. She claims her ex-boyfriend, Jimmy Spotswoode (James Hall), has embezzled money from his dad's bank. Jimmy denies such a charge. His father visits her apartment to try to bribe Margaret to keep her quiet. Jimmy is about to marry Alice La Fosse (Jean Arthur) and doesn't need any headaches from 'The Canary" Margaret squawking. The next morning she's found dead.

"The Canary Murder Case" was the first speaking role for Jean Arthur. She was extremely hesitant to transfer over from silent to sound movies. But when the actress realized talkies weren't just a fad, she knew she had to accept speaking parts. Her few speaking lines in "Canary" didn't impress critics. She looked back at her talking debut and said she was a "very poor actress. I was awfully anxious to improve, but was inexperienced so far as genuine training was concerned." At the time, Paramount was scouting Broadway actors with great voice articulation and live stage experience. Arthur decided to take some time off to act in a few New York CIty plays to become comfortable speaking in front of a live audience. At the same time she received expert vocal lessons from coaches who knew more about voice projection than miming physical movements on the screen.

This film typifies the problems the studios were having adapting to sound in 1929. The characters talk and talk and talk and nothing much happens. Being a great Philo Vance fan, I had to purchase this film even though it is a pretty rough transfer to tape and is very stilted in style. The obvious post-dubbing of Louise Brooks' voice is comical since it comes out as a nasal Bronx accent. William Powell, just beginning to develop his persona as a sophisticate, really doesn't stand much of a chance here. However, for historical value, it is worth a try. It is the last film that Brooks made before she went to Germany and her greatest triumphs(Pandora's Box, Diary of a Lost Girl); thus the voice dubbing. The film started out as a silent and was converted to sound....by that time she was in Germany and refused to return to dub her own voice. If you are a Philo Vance buff and can't work your way through this film, see "The Kennel Murder Case" instead.