“You are about to meet the ninth
guest. His name is death…”
This pacey
murder-mystery whodunit came from Columbia Pictures’ Screen Gems subsidiary,
which according to the screen credit was already hitching its wagons to the
future preparing movies like this for TV distribution. Director Roy William
Neill ably helms this quickie, later going on to continue in that vein directing
several of the Basil Rathbone/Nigel Bruce Sherlock
Holmes film series. Based on the 1930 mystery thriller The Invisible Host by Bruce Manning and Gwen Bristow, The Ninth Guest is very much a lightweight
programmer with horror overtones, but moves quickly enough to entertain, so
quickly in fact that you have to concentrate to keep up with the criminal
backgrounds emerging from each of the suspects.
The set-up
is simple: eight guests are contacted by telegram to attend a party in a high-rise
penthouse. They know nothing of the host and the wording flatters their egos and
curiosity by making out that it is especially in each one’s honour. As they
arrive, whilst quizzing one another as to which is the host, we soon realise
that as well-to-do as each one is, they all have something on the others that
inspires mistrust and even bitter animosity. Amongst the privileged set are
political manipulator Jason Osgood (Irish character actor Edwin Maxwell), the
murky yet “well-known educator” Dr
Reid (Samuel Hinds, best known for his work on Frank Capra and Abbott and
Costello films), showbiz songstress Jean Trent played by film comedienne
Genevieve Tobin, Donald Cook (stage and screen star of The Public Enemy and Showboat)
as “brilliant journalist” Jim Daley
and Henry Abbott (Hardie Albright).
Once it
dawns on the eight that none of their fellow guests invited them, suddenly a disembodied
dramatic voice from the radio introduces himself as the unnamed host and
tantalises the assembly by pitting them in a game of wits against him. He
massages their egos once more by referring to their exceptional intellectual
ability as worthy opponents, but creates fear by promising to reveal from each:
“Some secret that you hide from the world”.
Such is his confidence that he predicts their deaths one by one on the hour - and
thus we’re off to the races, with mounting paranoia between the guests as the
bodies stack up like firewood, with the ‘phone lines cut and the gates
electrified to seal then off from outside help.
First to
join the choir invisible is corrupt political player James Osgood, who punctures
the tension with punctuality by drinking Prussic Acid from his glass on the very
stroke of eleven. The host points out that none should mourn him as he had attempted
to poison all of them. Margaret Chisholm, a wealthy grand dame, hides a letter
addressed to her, yet to no avail as it’s revealed by the voice of doom that
she is a bigamist whose husband was committed by her to an insane asylum while
she enjoyed his money. As the clock hits twelve, she hits the floor, taking the
easy way out once exposed.
As cabin-fever
grows amongst the group, sourpuss Tim Cronin tries to signal for help by
burning newspaper on the balcony, a futile gesture when it’s pointed out that they’re
fifty stories up. “Like a cheap movie”, observes
Jean softly off-camera. Eventually, the numbers are whittled down to four and
before you can say ‘vol-au vents’ the clandestine cards of the remainders’
corruptions are exposed. Tim’s wife Sylvia (Helen Flint) may be gunning for his
$200,000 life insurance policy. Jim and Jean were childhood friends from close
families whose fortunes were literally tied together over a shared inheritance
of property that he wants to sell because oil is discovered there. Jim muddies
the slick even further by choosing this moment to confess that he has always
loved Jean. A queue seems to be forming as shortly afterwards so does Henry
Abbott. Jean welcomes this – clearly her “honeyed
voice and golden charm” praised by our host is working over-time.
An eerily
effective gradual dousing of the light followed by a gun-shot triggers the
demise of Dr Reid, clearly teaching the educator a lesson. Finally, Jim exposes
Henry as the villain/radio voice/host all along using remote chair-buttons and
a microphone to cue the voice. It turns out that he is linked to them all via
being the brother of Margaret’s asylum-incarcerated hubbie, (who Sylvia and Tim
covered for) and being thrown out of university by Reid. At this point, the plot’s
amusingly labyrinthine exposition resembles Dustin Hoffman’s hilariously convoluted
self-unmasking at the soap-opera climax of Tootsie.
“Is a man mad because he kills his
enemies?” Abott
ponders, which would have been fine as an undergraduate debate with a lecturer
but not in the real world. Juries don’t look too favourably on such defence
strategies. He lets Jim and Jean go as promised, before taking his own life. “Trials are such messy things”, he remarks
before grasping the re-electrified gates and saving the tax-payer and jury a
hefty court-case. It’s just as well. They’d need a flow-chart to follow the
motives here. Macabre armchair-sleuthing fun….
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