An early-sound crime/mystery (I can't call this a "murder mystery" since it's not really a whodunit), THE COSTELLO CASE starts off slow, first with a virtually silent opening, and then with endless talk in one room about the killing of this Costello, about whom we never really learn very much. Just as you are wanting to turn it off, two minor characters are introduced, characters who at first seem clichéd, but we soon learn are POSING as clichéd characters. Then the film really takes off into territory the average viewer would NEVER expect, winding up with an amazing climax and resolution that is definitely pre-code and with some changes could have been in a 1970's Italian crime film. This film also features profanity in the dialogue (Hell and Damn), an unmarried couple living together, and an ending that the Hays office would have demanded be re-written. Tom Moore is fine as the dedicated and smarter-than-he-seems policeman Mahoney; Wheeler Oakman once again is cast well as an oily crook with a smarmy charm, and we also get to see him falling apart and begging for his life, which is always a treat (see THE MAN FROM GUNTOWN or ESCORT GIRL). And it's always a treat to see Lola Lane, who did a lot of convincing work in z-grade early-sound films, here as a woman once harassed by Oakman, but now having a second chance with a man fate brings her together with. Like many early-sound films, this plays like a stage drama, but I was riveted after a slow first fifteen minutes, and I think that any fan of independent films of the early 1930's should track down a copy of this rare film.
3 Reviews
Somewhat static but the plot makes up for it
AlsExGal27 November 2011
This poverty row crime drama is as visually static as most films made the year before, plus the dialogue could use some fleshing out. However, I'd still recommend it. As the other reviewer said, don't think that the first 10 minutes is a sample of how the rest of the film goes. It never really picks up in pace but it does get interesting with some fine twists and turns and good performances put in by all concerned whose acting transcends the pedestrian dialogue and, quite frankly, some pretty dopey moves made by both cops and criminals in this one. In fact, some of the silliness that goes on is part of the unintentional entertainment here.
The mystery centers around the murder of an undertaker and a missing fifty thousand dollars from his safe. The police captain then involves a young couple that seems puzzled as to why they have been picked up yet seem to be hiding something. You are then treated to one of the worst examples of police interrogation in the annals of film - "You killed him for the money and she was the look-out!" "You killed him for revenge and he was the look-out!" "You did it together"...I mean, come on, if you are going to get a confession out of a perp you at least need to make sure you don't change your story more often than the perp does! Great fun for early sound enthusiasts, for all others your mileage may vary.
The mystery centers around the murder of an undertaker and a missing fifty thousand dollars from his safe. The police captain then involves a young couple that seems puzzled as to why they have been picked up yet seem to be hiding something. You are then treated to one of the worst examples of police interrogation in the annals of film - "You killed him for the money and she was the look-out!" "You killed him for revenge and he was the look-out!" "You did it together"...I mean, come on, if you are going to get a confession out of a perp you at least need to make sure you don't change your story more often than the perp does! Great fun for early sound enthusiasts, for all others your mileage may vary.
Lola Lane Proves Her Worth
kidboots8 February 2016
Warning: Spoilers
For a while it seems like just another early talkie from a studio still finding it's feet - scenes set up to highlight some up to the minute wise cracking humour. Roscoe Karns livens things up with his dead pan delivery - he's Blair, a reporter. Wheeler Oakman, even in 1930, seeming to have patented the slick racketeer. He is "Mile-Away" Harry and the first person bought in for questioning about the Costello murder, although the police save their really tough "hauling over the coals" questioning for two kids, Jimmie and Mollie who have been evading the police down at the bus shelter. They become defensive during questions and confess they have just eloped and were worried they would be sent home to Peoria if captured. Officer Mahoney (who else but Tom Moore) takes a special interest in the "lovebirds" and finds them a place to live so they won't be stranded in the big city but alone in the flat it is clear they are strangers, each being mixed up, in different ways, in the Costello case.
Lola Lane was one of the Lane sisters but long before there was a "Four Daughters" Lola was busy in Hollywood, first in early musicals, then in films like "The Costello Case" where her tough yet vulnerable delivery would assure her of a long career. And yes, this is one of those movies were there is a lot of earnest conversation talked around vases of flowers. Mollie was Harry's girl and Jimmie has robbed Costello's safe just prior to his murder, although he swears he is not the killer.
Mahoney is almost "put on the spot" by Harry's gang but some quick thinking by Blair literally saves his life - although the police continue to treat Harry as a pal. Mahoney also continues, by his good nature, to make things difficult for the "newly weds" who have decided to make the best of it but all that cash is making them jumpy!! The last scene also has a throw away line - just in case you've forgotten that it's a pre-coder!!
Definitely not your average poverty row play-by-the-numbers although having someone as laconic as Thomas E. Jackson with his dead pan delivery would have been a big plus rather than Tom Moore's big hearted cop. He does get his big scene at the end when he finds Harry in exactly the position that he wants him in!!!
Highly Recommended.
Lola Lane was one of the Lane sisters but long before there was a "Four Daughters" Lola was busy in Hollywood, first in early musicals, then in films like "The Costello Case" where her tough yet vulnerable delivery would assure her of a long career. And yes, this is one of those movies were there is a lot of earnest conversation talked around vases of flowers. Mollie was Harry's girl and Jimmie has robbed Costello's safe just prior to his murder, although he swears he is not the killer.
Mahoney is almost "put on the spot" by Harry's gang but some quick thinking by Blair literally saves his life - although the police continue to treat Harry as a pal. Mahoney also continues, by his good nature, to make things difficult for the "newly weds" who have decided to make the best of it but all that cash is making them jumpy!! The last scene also has a throw away line - just in case you've forgotten that it's a pre-coder!!
Definitely not your average poverty row play-by-the-numbers although having someone as laconic as Thomas E. Jackson with his dead pan delivery would have been a big plus rather than Tom Moore's big hearted cop. He does get his big scene at the end when he finds Harry in exactly the position that he wants him in!!!
Highly Recommended.
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