Old man Wayne is about to read his will, All of the heirs are gathered. When his secretary and nephew makes a run at stealing, replacing and re-stealing a valuable gem Wayne calls the police. After the police arrive Wayne tells them to wait while he goes to tell the heirs just what he thinks of them. However before that can happen the old man keels over and dies. When he's lifted up a knife is sticking in his chest. More police are called and a detective (soon to be aided by a smart mouth reporter) tries to solve the crime. Good mystery is hampered by the lack of music (this was 1932 and many independent producers didn't use it) this movie is a slow go for the first half. Once things get moving its a good ride to the end with almost all of the suspects coming under suspicion and the sudden appearance of a dark robed figure trying to kill off the heirs. As the story progresses and more murders occur there are a couple of nice pre-code touches as we rather graphic hanging as well the the graphic end of the killer. Worth a look if you run across it.
11 Reviews
Murder Mystery Cliché
sbibb17 February 2005
This movie, known also as "Wayne Murder Case" is a typical drawing room murder mystery. A rich old man is sickly and dying, and before his death he decides to have a reading of his will to his family members. As he is about to read the will, in a room full of family members and police, he is murdered, but who did it? This film is a typical old dark house murder mystery, with Regis Toomey playing the lead detective. June Clyde plays the nosy reporter who will do anything to get the story. Dwight Frye has a very small role as a family member. Look for a degrading role played by Snowflake, of a black manservant.
This film was made in 1932 and is in the public domain and as such can be found on VHS and DVD.
This film was made in 1932 and is in the public domain and as such can be found on VHS and DVD.
Another in the Old Dark House Vein
Mike-7648 December 2004
Silas Wayne is about to read the benefactors of his will to his nearest relatives and associates (whom he all hates and thinks nothing of), when he fulfills the eternal movie cliché of dying just before he is about to read the stipulations. Two police officers (who were summoned by Wayne, so that he could reveal a criminal in his midst to) summon Detective Sergeant Mitchell to investigate the murder. Nosy Toodles (a newspaper reporter) also works to solve the crime with Mitchell, much to his regret. The prime suspect is Claude Wayne, nephew and secretary to the murdered man, who stole a valuable diamond which was to be given to Wayne's maid, Ms. Sheen, but a mysterious cloaked figure lurks the house that evening and strangles Claude Wayne and also tries to eliminate all the other murder suspects one by one. This movie was described on the title card as "A Monogram Melodrama" and the filmmakers emphasized that part to the fullest. It has plenty of murder mystery clichés and performances that are respective of the genre, but the film is badly directed by Whitman, with many scenes just taken forever to go on. June Clyde probably gives the only performance with any life in it, and Snowflake's "comedy" antics are somewhat painful to watch. The end does seem to come out of nowhere, since I thought a lot more substance would precede it. All in all, a decent poverty row mystery. Rating, 5.
Old Dark House mystery
wrbtu27 August 2000
A fairly good murder mystery of the Old Dark House variety. It has many of the cliches of the genre, but also avoids many of the usual cliches, & has an interesting storyline. June Clyde is cute & vivacious as a newspaper reporter. Regis Toomey is adequate as the police lieutenant. Dwight Frye is a bit nutty in a small roll (still recovering from his role in "Dracula"?). There are a couple of murders, but disappointingly, no secret passageways or doors & no thunderstorm. There is a mysterious figure walking around in oversized monk's robes, though, & that's pretty neat. Good effort by all, but falls a little short. I rate it 6/10.
Everyone's A Suspect
boblipton10 January 2019
It's a short B mystery. Wealthy William V. Mong calls together his relatives to tell them that they're despicable and he's writing a new will. Before he can sign it, he collapses and dies. Detective Regis Toomey comes in to question them. While he is doing so, reporter June Clyde comes in, sasses him, and assists him in his investigation.
If you're looking for a script with plenty of reed herrings and everyone a likely-looking suspect, this is a decent B movie for you. If you're looking for a decent mystery, in which the audience has all the clues before the murderer is announced, it fails. There's one key piece of evidence that is withheld until the murderer is caught.
It's co-directed by Sennett veterans Hampton Del Ruth and Phil Whitman; Del Ruth took a co-writing credit. The comedic larks are limited to Miss Clyde, who enters the crime scene by by claiming to be the widow of the murdered man, and by annoying Toomey by behaving like a naughty child. There's also 'Snowflake' Toones doing his cowardly bit. Other than that, it's one of those mysteries that could be a decent radio play ... except for the withheld clue.
Cameraman Leon Shamroy gets a few grace notes, with a camera that pans a bit and a couple of point-of-view shots. They may have satisfied him, but they don't add much.
If you're looking for a script with plenty of reed herrings and everyone a likely-looking suspect, this is a decent B movie for you. If you're looking for a decent mystery, in which the audience has all the clues before the murderer is announced, it fails. There's one key piece of evidence that is withheld until the murderer is caught.
It's co-directed by Sennett veterans Hampton Del Ruth and Phil Whitman; Del Ruth took a co-writing credit. The comedic larks are limited to Miss Clyde, who enters the crime scene by by claiming to be the widow of the murdered man, and by annoying Toomey by behaving like a naughty child. There's also 'Snowflake' Toones doing his cowardly bit. Other than that, it's one of those mysteries that could be a decent radio play ... except for the withheld clue.
Cameraman Leon Shamroy gets a few grace notes, with a camera that pans a bit and a couple of point-of-view shots. They may have satisfied him, but they don't add much.
Unless you're a June Clyde or Leon Shamroy fan, don't waste your time!
JohnHowardReid26 December 2013
Warning: Spoilers
NOTES: Although the good people at Alpha Video obviously think otherwise, cult favorite, Dwight Frye, has only a small, insignificant role in this picture, let alone a chance to be "chilling, as the murdered man's anxious nephew."
COMMENT: On the credit side, the movie is atmospherically photographed by one of Hollywood's top cameramen, Leon Shamroy, of all people! And the star is the lovely, spirited, ultra slim June Clyde. Against these assets, however, are a large range of debits including the creakily slow-paced, laboriously heavy-handed and ploddingly pedestrian dialogue and its direction; the promising but rather flaccidly developed storyline; and the acting which – apart from Miss Clyde's spirited performance – can only be described as jaded or disinterested. The absence of background music is also a distinct debit. What a shame the wonderfully sinister music used under the credit titles wasn't also employed in the movie itself!
COMMENT: On the credit side, the movie is atmospherically photographed by one of Hollywood's top cameramen, Leon Shamroy, of all people! And the star is the lovely, spirited, ultra slim June Clyde. Against these assets, however, are a large range of debits including the creakily slow-paced, laboriously heavy-handed and ploddingly pedestrian dialogue and its direction; the promising but rather flaccidly developed storyline; and the acting which – apart from Miss Clyde's spirited performance – can only be described as jaded or disinterested. The absence of background music is also a distinct debit. What a shame the wonderfully sinister music used under the credit titles wasn't also employed in the movie itself!
A plot as old and stale as film itself.
mark.waltz16 September 2014
Warning: Spoilers
What has been the most overused plot line in motion pictures? The most obvious one to me is the spooky old mansion where some aging relative, hated by everyone in their family, gathers everybody together, and all of a sudden kicks the bucket in a way that is most obviously murder. There's all sorts of greedy relatives abound, spooky servants, a fragile heroine being stalked by the killer, and of course, the wise-cracking reporter and stupid police officers investigating the case.
The victim here is the very nasty William V. Mong who detests every one of his relatives and has obviously mistreated his staff, which includes a creepy looking secretary nephew (Dwight Frye). Mong, who has left his will unsigned, calls the police to his mansion to arrest a relative he believes has gotten into his safe, read his will and switched a valuable diamond he keeps there. Just as he is in the midst of telling off the greedy family and servants, he keels over and is discovered to be dead with a knife stuck into his heart. It's ironic that the dumb as nails detective Regis Toomey is there, reciting the most stereotypical of dumb dialog.
As for the servants, there's of course a very dour housekeeper, in this case played by silent film veteran Lucille La Verne who would make screen history by allowing her profile to be used for the old hag in Disney's "Snow White" and providing her voice for both the hag and the glamorous version of the character. She is also known for her toothless hags in the silent "Orphans of the Storm" and the 1935 version of "A Tale of Two Cities", but here, she's got her teeth in, overacting with her few lines of dialog and being totally over the top. Poor Snowflake is given the most embarrassing assignment as the black manservant, a total coward who shakes in fear every time something spooky happens. A cloaked mysterious character looks more like the hooded Elephant Man than a scary creature and waves their cloaked arms around, causing Snowflake to go into hysterics in one of the most racist of intended comic moments that just ends up head shaking.
The only interesting lines go to June Clyde as a wise-cracking reporter nicknamed "Nosy" by Toomey who is simply just dreadful in this part. The film moves at a snail's pace for its extremely short running time, only coming to life when Clyde is on screen or in a rooftop chase in the finale. I've seen so many variations of this plot line that were better told, even in much later spoofs like "Murder By Death" and "Clue".
The victim here is the very nasty William V. Mong who detests every one of his relatives and has obviously mistreated his staff, which includes a creepy looking secretary nephew (Dwight Frye). Mong, who has left his will unsigned, calls the police to his mansion to arrest a relative he believes has gotten into his safe, read his will and switched a valuable diamond he keeps there. Just as he is in the midst of telling off the greedy family and servants, he keels over and is discovered to be dead with a knife stuck into his heart. It's ironic that the dumb as nails detective Regis Toomey is there, reciting the most stereotypical of dumb dialog.
As for the servants, there's of course a very dour housekeeper, in this case played by silent film veteran Lucille La Verne who would make screen history by allowing her profile to be used for the old hag in Disney's "Snow White" and providing her voice for both the hag and the glamorous version of the character. She is also known for her toothless hags in the silent "Orphans of the Storm" and the 1935 version of "A Tale of Two Cities", but here, she's got her teeth in, overacting with her few lines of dialog and being totally over the top. Poor Snowflake is given the most embarrassing assignment as the black manservant, a total coward who shakes in fear every time something spooky happens. A cloaked mysterious character looks more like the hooded Elephant Man than a scary creature and waves their cloaked arms around, causing Snowflake to go into hysterics in one of the most racist of intended comic moments that just ends up head shaking.
The only interesting lines go to June Clyde as a wise-cracking reporter nicknamed "Nosy" by Toomey who is simply just dreadful in this part. The film moves at a snail's pace for its extremely short running time, only coming to life when Clyde is on screen or in a rooftop chase in the finale. I've seen so many variations of this plot line that were better told, even in much later spoofs like "Murder By Death" and "Clue".
Not enough evidence to solve the crime; not enough story for an hour of film
Athanatos28 July 2007
This movie is a whodunit dressed-up like a mix of Midnight Faces (1926) with The Cat and the Canary (1927).
There is a clever twist to how the murder itself is effected, but unfortunately the story containing it is rather meager; it could have been presented in perhaps 20 minutes, rather than in the hour expended.
As in various other films, an independent investigator whose behavior is plainly illegal is tolerated rather than taken into custody or even expelled. The explanatory device, in this case, is that the officer in charge is in love with her, but credibility is over-stretched.
That officer ultimately solves the case using evidence withheld from the audience while in his possession; that evidence is not particularly surprising, but it also is not sufficiently strong, especially given that the officer had to rely upon testimony as to events at the time of the murder, rather that being himself a witness to it.
Another flaw in this story, common to a great many films of the period, is the presence of a stereotyped black servant -- dim-witted, superstitious, cowardly, and slow-moving except when terrified.
There is a clever twist to how the murder itself is effected, but unfortunately the story containing it is rather meager; it could have been presented in perhaps 20 minutes, rather than in the hour expended.
As in various other films, an independent investigator whose behavior is plainly illegal is tolerated rather than taken into custody or even expelled. The explanatory device, in this case, is that the officer in charge is in love with her, but credibility is over-stretched.
That officer ultimately solves the case using evidence withheld from the audience while in his possession; that evidence is not particularly surprising, but it also is not sufficiently strong, especially given that the officer had to rely upon testimony as to events at the time of the murder, rather that being himself a witness to it.
Another flaw in this story, common to a great many films of the period, is the presence of a stereotyped black servant -- dim-witted, superstitious, cowardly, and slow-moving except when terrified.
wow
HandsomeBen31 December 2023
Warning: Spoilers
Horror movies during this time seem to always have the same plotline. A group of people in one house get picked off one by one, due to some money, jewels or inheritance. The beginning was very engaging, and the old man, who everyone was waiting to die, so they could see the will, was the best part about this, and made the rest of the film promising. Unfortunately as soon as his character is done away with the rest of the movie followed along with him. And now we're left with bland characters, and a generic monotone detective. There were bright spots when it came to the use of shadows. It was only an hour long so i didn't turn it off, the saving grace was the chase scene at the end.
Silas Wayne is about to read his will
Bernie444414 May 2024
Wayne Murder Case aka A Strange Adventure (1932)
However, his secretary has anticipated the reading and already switched the soon-to-be inherited diamond with a paste substitute. Silas (William V. Mong) is not that dumb and has sent for the police.
He still goes forward with the reading of his will, surrounded by relatives, associates, and the police. They all give him dirty looks and if looks could kill... Just before he signs the will Silas keels over. Everyone closes in with genuine concern that he is still alive.
Detective-Sergeant Mitchell (Regis Toomey) is assigned the case. And who should stick her nose in but a newspaper gal 'Nosey' Toodles (June Clyde)? She is determined to be the first to discover who dispatched Silas.
If you ask me there seems to be something going on between the two.
One of my favorite scenes is where the servant Jeff (Fred 'Snowflake' Toones) is confronted by a phantom waving its arms.
Another plus is that all the actors are displayed with their real names, instead of just a bunch of disembodies names scrolling on the screen.
They also hurried the story or this could have been an excellent case.
However, his secretary has anticipated the reading and already switched the soon-to-be inherited diamond with a paste substitute. Silas (William V. Mong) is not that dumb and has sent for the police.
He still goes forward with the reading of his will, surrounded by relatives, associates, and the police. They all give him dirty looks and if looks could kill... Just before he signs the will Silas keels over. Everyone closes in with genuine concern that he is still alive.
Detective-Sergeant Mitchell (Regis Toomey) is assigned the case. And who should stick her nose in but a newspaper gal 'Nosey' Toodles (June Clyde)? She is determined to be the first to discover who dispatched Silas.
If you ask me there seems to be something going on between the two.
One of my favorite scenes is where the servant Jeff (Fred 'Snowflake' Toones) is confronted by a phantom waving its arms.
Another plus is that all the actors are displayed with their real names, instead of just a bunch of disembodies names scrolling on the screen.
They also hurried the story or this could have been an excellent case.
Cinememes
tedg5 January 2008
I'm fascinated by what cinema does to people, and therefore interested in how it has become what it is.
Some things are quite obvious, like why justice is served as visually violent death; why war and crime seem entangled with romance; why certain gauzy and pastel images imply sentiment.
Much more interesting are the things that have a non-obvious reason to be as they are.
This is a mystery, a detective sort of mystery from the first few years of talkies when the genre was experimental. It has many standard elements: a death seconds before a punitive will is signed. A death in plain view. All the suspects collected in the house. A surprise as to the murderer, motive and method.
But its also got some elements that would break out on there own as sort or independent memes. One is the brash girl reporter, sexy and who has the hots for the chief detective. Her name is "Nosey Toodles." She's most of the entertainment, and its easy to see how this could develop a life of its own.
The other element is the one that interests me. All the suspects and the detectives are locked in the house, and the murderer skulks about in a black-hooded ghost costume. There are knives, young women at risk while sleeping, and an obligatory black servant who runs away bug-eyed and sputtering.
Now, the setup of the murder is contrived for the film audience in most details. But somehow that's of a less radical idea than having murderer conceal his or her face and body. There's only one reason to hide, and that's from the audience. There's only one reason to slither about with spooky gestures down a vacant hallway. Us.
I believe that these two theatrical devices, the murder and the "ghost" became linked in plays that were precisely copied in the early talking cinema, when plays could be appropriated.
What's interesting is that this hooded figure, slashing about has spun into its own genre, maintaining the mystery of identity, The cloak and mannerisms are precisely the same as in "Scream." The only difference now is that instead of the racist bug-eyed servant, we have the sexist bug-eyed and screaming slut.
The production here is poor, and there are better examples of this.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
Some things are quite obvious, like why justice is served as visually violent death; why war and crime seem entangled with romance; why certain gauzy and pastel images imply sentiment.
Much more interesting are the things that have a non-obvious reason to be as they are.
This is a mystery, a detective sort of mystery from the first few years of talkies when the genre was experimental. It has many standard elements: a death seconds before a punitive will is signed. A death in plain view. All the suspects collected in the house. A surprise as to the murderer, motive and method.
But its also got some elements that would break out on there own as sort or independent memes. One is the brash girl reporter, sexy and who has the hots for the chief detective. Her name is "Nosey Toodles." She's most of the entertainment, and its easy to see how this could develop a life of its own.
The other element is the one that interests me. All the suspects and the detectives are locked in the house, and the murderer skulks about in a black-hooded ghost costume. There are knives, young women at risk while sleeping, and an obligatory black servant who runs away bug-eyed and sputtering.
Now, the setup of the murder is contrived for the film audience in most details. But somehow that's of a less radical idea than having murderer conceal his or her face and body. There's only one reason to hide, and that's from the audience. There's only one reason to slither about with spooky gestures down a vacant hallway. Us.
I believe that these two theatrical devices, the murder and the "ghost" became linked in plays that were precisely copied in the early talking cinema, when plays could be appropriated.
What's interesting is that this hooded figure, slashing about has spun into its own genre, maintaining the mystery of identity, The cloak and mannerisms are precisely the same as in "Scream." The only difference now is that instead of the racist bug-eyed servant, we have the sexist bug-eyed and screaming slut.
The production here is poor, and there are better examples of this.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
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