Lionel Atwill (G.A. Axton), Irene Hervey (Laura Tait), Ann Loring (Zelda), Raymond Walburn (Governor Pruden), Stuart Erwin (Chubby Rudd), Louis Hayward (Bengard), Wallace Ford (Jack), Bernadene Hayes (Judy), Harvey Stevens (Barney Tait), Robert Gleckler (Cowdray, Pruden's minder), J. Carroll Naish (Pedro), Edwin Maxwell (Baxter), Charles Trowbridge (doctor), Matt Moore (pilot), Robert Livingston (co- pilot), William Newell (pilot with bottle), Lee Phelps, Monte Vandergrift (mechanics), Alexander Cross (Rudd's editor), Gwen Lee (Western Union operator), James Bush (airport radio operator), Harry Geise (police radio operator), Phil Tead (Dallas Airport radio operator), Jessie Rosenquist (radio announcer), Kitty McHugh (Axton's secretary).
Director: GEORGE B. SEITZ. Screenplay: Harry Clork. Story: George F. Worts. Film editor: Conrad A. Nervig. Photography: Lester White. Art directors: Cedric Gibbons and James Havens. Set decorator: Edwin B. Willis. Costumes designed by Dolly Tree. Music score: Franz Waxman. Dialogue director: Edwin Maxwell. Assistant director: Robert E. Barnes. Continuity "girl": Carl Roup. Sound supervisor: Douglas Shearer. Western Electric Sound Recording. Producer: John W. Considine, junior.
Copyright 14 April 1936 by Metro-Goldwyn-Mayer Corporation. New York opening at the Rialto: 1 May 1936. U.S. release: 1 May 1936. Australian release: 25 November 1936. 7 reels. 70 minutes.
SYNOPSIS: After suffering a heart attack in his office, a wealthy tycoon is ordered to take a rest at his remote ranch-house in "absolute quiet".
COMMENT: A favorite plot device for stories and novels (and "B" movies) gathers an interesting group of characters together at a remote farm-house or haunted old mansion, miles away from police and emergency services. It's a mighty effective device, so it's no surprise that "Absolute Quiet" turns out as a solidly entertaining entry in this fascinating genre.
Harry Clork's cleverly ingenious screenplay not only brings a wonderfully diverse array of people together (without straining co- incidence or credibility too far), but sets them up in situations of mutual conflict, and then provides an added bonus in smart, sharply acerbic dialogue. In fact, the script hands just about all the actors meaty roles—and all have a field day.
Without running through the entire cast list, it's virtually impossible to single out a few players for special praise. Nonetheless, in his enthusiastic review in The New York Times, B.R. Crisler did have a go, particularly lauding Bernadene Hayes. A fully justified commendation I feel. A more refined and less tiny Iris Adrian, Miss Hayes was predicted to have "a strong future." (This didn't come about, alas. Miss Hayes spent most of her career in unrewarding support roles in the "B" hive). Also not to be sneezed at, is her partner, Wallace Ford, who is here given a rare opportunity to demonstrate his ability at impersonations. His "butler" is a real scream.
I'd like to add mentions of the lovely, endearing Irene Hervey (whose captivating grace will charm the most unresponsive viewer), personable Louis Hayward (who handles the fallen star with remarkable conviction), cowardly, light-of-brain yet masterfully pompous Raymond Walburn, and the toadying, slyly manipulative Robert Gleckler (who has one of his finest hours as Walburn's minder). And last but not least, Lionel Atwill.
It says much for Atwill's charismatic power, as well as his histrionic talent, that the movie's original conclusion had to be changed in order to accommodate audience expectations. (As shot, the picture ended with Atwill succumbing to a fatal heart attack. This ending so enraged preview patrons, it was completely scissored. The movie now fades out abruptly on a line that was obviously not designed as a curtain tag).
Although production values are firmly "B", the picture has been realized in a typically polished Metro-Goldwyn-Mayer style. Strong direction (from George B. "Andy Hardy" Seitz of all people), attractive photography, gorgeous costumes and some exciting special effects work lift "Absolute Quiet" well above the Poverty Row league.
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