In 1933,
Universal released the murder-mystery film Secret
of the Blue Room. For the most
part it’s a pretty average potboiler, which is a shame as it starts out with a
promising premise, but then is wrapped up with the lamest of conclusions. Based
on the 1932 German film Geheimnis des
Blauen Zimmers, it was later given two remakes. Murder in the Blue Room, the 1944 version, became a comedy with songs,
which is apt as you certainly can’t take this plot seriously.
Basically,
it centres around three suitors to Irene, the comely 21-year old daughter of
wealthy Robert Von Helldorf (Lionel Atwill, who’s given very little else of
substance to do other than exposition). Irene is played by Gloria Stuart whose
longevity of career I covered in The Old
Dark House review of 1/4/2016). The trio of hopefuls are Tommy played by
William Janney, Onslow Stevens’s Frank (later Dr Edlemann in House of Dracula) and Walter – Paul
Lukas who won an Oscar in 1943 opposite Bette Davis in Watch on the Rhine. Frank is a go-getting reporter always on the
lookout for the big scoop and Walter is a suave Hungarian-accented Naval
officer. (You can tell this as he spends the entire film wearing his naval
uniform even though he’s off-duty).
Tommy, however,
is an insufferably wet little dweeb. He declares his undying love for Irene on
her 21st birthday in exactly the kind of face-palmingly desperate
manner that no self-respecting woman would find attractive. She has the grace
to humour him, but for us there’s only so much tiresome ‘Aw, you wouldn’t want
to be with someone like me’ fishing that the viewer can take. Fortunately, he
presents his own solution: a wager to prove he has the necessary courage to be
worthy of her. The three men will spend a night each in the family mansion’s
notorious Blue Room. Von Helldorf has reluctantly shared the grisly history of
the room, which so far has mysteriously claimed the lives of his sister, who
inextricably fell out of its window into the moat, his brother who died of a
gun-shot wound there from a weapon never recovered, and a curious detective –
and we all know what curiosity did to the cat. All the victim occupants’ lives
are claimed at 1a.m. “This is better than
any story I could write” says Frank, glumly. He needn’t be so hard on
himself - he hasn’t seen the rest of the film.
Tommy is the
first to take the bet, and Irene demonstrates a peculiar way of showing her
admiration for how far he will go for her: “Thank
goodness I can be a coward with a clear conscience”. Thanks for that. No
wonder he vanishes. When it’s Frank’s turn, he manages to get shot off-screen
while sitting at the piano. As the body-count rises, Von Helldorf is strangely
reluctant to bring in the police. Nevertheless, in comes Commissioner Forster,
(Edward Arnold). He subjects the household to a grindingly sluggish third-act
interrogation that kills the pace. Amongst the suspects, we get a better sense
of the gruff, furtive butler Paul (Robert Barrat) and Mary (Elizabeth
Patterson), the caustic and sneaky housekeeper who is all too keen to pin the
murders on him. Von Helldorf seems to earn our allegiance by confessing to the
cops that his brother is actually alive and there’s a family secret that Irene
is actually his brother’s daughter and not Von Helldorf’s. This is either
crucial or irrelevant to what happens next. Guess which one?
Mercifully, Forster’s inquiries turn from
Prozac to pro-active. He teams up with Walter to fool the killer into revealing
himself and the sliding wall compartment he used to enter and murder his
victims. Would you believe it was Tommy all along!! Me neither. It’s utter
bullshit. Supposedly, he heard about the Blue Room’s history and simply decided
to use it as a convenient setting to dispatch his love-rivals. Leaving aside
our incredulity at this ridiculous revelation, we never get an explanation as
to who killed Von Helldorf’s sister or the detective. Walter closes the
double-doors on the case, and the closing sight of the Universal airplane
chugging round the globe to the familiar strains of Swan Lake (used for all their horror film themes at this point) leaves us none
the wiser…
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