The OTHER 'Maltese Falcon' Adaptations

Most film buffs have at least heard of the 1941 film "The Maltese Falcon" with Humphrey Bogart, Mary Astor, Sidney Greenstreet, and Peter Lorre, Few know that it's a remake of a 1931 picture of the same name, and even fewer know that a third adaptation was released in 1935, titled Satan Met a Lady.

In this post, I review the two lesser-known film adaptations. Both have strength and weaknesses that make them worth checking out.

The Maltese Falcon (1931) (aka "Dangerous Female" and "Woman of the World")

Starring: Ricardo Cortez, Bebe Daniels, Otto Matieson, Dudley Digges, Uma Merkel, J. Farrell MacDonald, and Thelma Todd
Director: Roy Del Ruth
Rating: Seven of Ten Stars

After his partner is murdered, private detective Sam Spade (Cortez) finds himself drawn deeper and deeper into involvement with a growing assortment of odd characters, each of whom may be the murderer, as they chase each other in search of the elusive treasure known as the Maltese Falcon.

This review of the 1931 film draws on my experience with both it and the better-known version from 1941 that stars Humphrey Bogart as Sam Spade. If you haven't see the 1941 version, I recommend holding off until you've seen this one. The later adaptation is the superior film, but the 1931 version has its strengths as well. It pales a little in comparison to what is an undisputed masterpiece, but it has some strengths that the other film couldn't possess.

Since both films adapt the same novels, the story lines are mostly the same, as are the characters and their relationships to each other. The films also share the similarity that the characters that come in and out of the story are more fun to try to puzzle out than the intersecting mysteries of murder and treasure hunt.

One very important difference between the films is the nature of the main character, Sam Spade. In the 1941 version, Spade is a dour, snarling man that is being worn down by the world, but in the this one, Spade smiles his way through even the most deadly of encounters, having fun laughing at danger while chasing after everyone with a nice pair of breasts. Where the later picture is film-noirish in its tone, the 1931 version hews closer to the pulp fiction stories in the magazines of the time; they were stories about tough people doing nasty things, but jokes were being cracked and lots of fun was had along the way. The two Sam Spades are the main source of these differences.

While Ricardo Cortez is the undisputed star of the film, I think Bebe Daniels (who by the time this film was made had already spent nearly two decades in front of film cameras, enjoying a career that survived not only the transition from child to adult star but also the technological leap from silent to sound films) deserved the top billing she has in this picture. She's a far more effective "mystery woman" than Mary Astor, in no small part due to the fact that there's no dancing around the fact that she uses sex and her good looks as lethal weapons. After having watched Daniels in a number of silent movies she made as a teenager--where she played everything from a loyal girlfriend, to a con-artist, to a girl coyly as much on the make as the film's male lead--it was interesting to see her play a character who is apparently rotten through and through. On many levels, the more overt approach this film has to Sam Spade's womanizing and the sexuality of the film's femme fatale makes the characters more interesting and a little deeper.

For example, the affair that Spade is having with Ida Archer, the wife of his murdered partner, is not just hinted at here; it's out in the open, and it's used more effectively as a plot point and as a looking into the nature of the characters than in the 1941 version. At one point, Spade treats Ida Archer extremely coldly, given the affair, and depending on how you choose to interpret that in the context of when he's doing it, it shows that there's a truly vile human being hiding behind that broad smile, or Spade is just as devious  and calculating as the crooks he is trying to deal with throughout the picture. (Personally, I like to think it's the latter, a notion I'll come back to below.)

I found this to be a very entertaining movie when taken on its own terms. When compared to the 1941 version, the supporting cast can't hold a candle to their counterparts, with the exception of Effie the Secretary; I really enjoyed Uma Merkel. Thelma Todd is more memorable than the Ida Archer in the 1941 version, but that's more because her relationship to Spade is more blatant than anything she does as an actress here.

One part of the film that I initially didn't like, but which grew on me as I thought about it, was the final scenes between Spade and the "dangerous female", Wonderly. My initial reaction to the film's wrap-up was that it was another one of those Hollywood insta-romances that have spoiled so many otherwise good movies for me... but then it dawned on me that there was more to the scenes than that. It struck me that those closing interactions between the two characters were a redemption of sorts--their sexual fling had reawakened some of the humanity that they had buried deep within themselves, and despite their natures, they had actually connected on a real and emotional level. Ultimately, it was too late for either character to derive any happiness from this realization, as the many lies and deceptions they engaged obscured their emotions even from themselves. (Cortez's expression when the truth about where he and Wonderly truly stand with one another is probably the best bit of acting he does in the entire film.)

Satan Met a Lady (1936)
Starring: Warren William, Bette Davis, Marie Wilson, Porter Hall, Arthur Treacher, Maynard Holmes, and Alison Skipworth
Director: William Dieterle
Rating: Five of Ten Stars

A womanizing, crooked private eye (William) re-connects with his ex-partner (Hall) in time to start a new scam. Things quickly turn deadly as a woman as corrupt as he is (Davis) draws him into a murderous struggle over an 8th century artifact that legends hold is full of jewels.

"Satan Met a Lady" is one of three adaptations from Warner Bros. of Dashiell Hammett's "The Maltese Falcon", coming between "The Maltese Falcon" (1931) and "The Maltese Falcon" (1941). It's both the one that's furthest afield from the source material as well as the weakest. The weaknesses don't arise so much from seemingly arbitrary cosmetic changes (the criminal mastermind is a fat woman instead of a fat man, the treasure-stuffed McGuffin is a drinking horn instead of a falcon sculpture, the Sam Spade character is named Ted Shane, and so on), but from the characters and even some of the characterizations and the fact that this is either a comedy that's for the most part unfunny, or a mystery that's not terribly engaging..

The biggest problem with "Satan Met a Lady" is its 'hero', Ted Shayne (played by Warren William). Shayne is a man with absolutely no redeeming qualities--he's self-centered, arrogant, lazy, completely untrustworthy, and not half as witty as he thinks he is, and nowhere near as charming and handsome as the script makes all the ladies in the film think he is. Shayne such an unpleasant character that my favorite part of the film is the ending, which I won't comment on, because it'll spoil some of the few truly good minutes of the film.

It's a shame that the script isn't better--with either sharpened comedy or dramatic tension, and with more sensible reactions from most of the female characters, and at least one redeeming quality given to Shayne--because every cast member makes a fine accounting of themselves, given the shoddy material they are working with. 

William and Bette Davis are especially fun to watch together, since we have two perfectly cast actors, playing two equally vicious characters who recognize each other as the villains they are, and who know that each is just looking for a chance to mess with the other. If the script had been better, I suspect these scenes could have been absolutely brilliant.

As for "Satan Met a Lady", it's not a terrible film... it's just not very good. It's not going out of your way for. However, it's included in the three-disc Special Edition of The Maltese Falcon, together with the two good versions. In that case, it's an inoffensive "bonus" feature that you save for that day when you've got nothing else to watch.


You can get all three versions "The Maltese Falcon" and some great bonus features in the two-disc set The Matese Falcon: Special Edition. It's a great value, and I think it's a set any lover of classic mystery movies will enjoy.

Sherlock Sunday: Wontner in 'The Sign of Four'

The Sign of Four: Sherlock Holmes' Greatest Case (1932)
Starring: Arthur Wontner, Ian Hunter, Isla Bevan, and Graham Soutten
Director: Graham Cutts
Rating: Seven of Ten Stars

After Mary Morstan (Bevan) receives a mysterious string of pearls and a mysterious letter requesting a meeting, and is then menaced by a mysterious thug (Soutten), she retains the services of private investigators Sherlock Holmes and Dr. Watson (Wontner and Hunter) for protection and to get some answers. What is brought to light is a tale of greed, decades-old treachery and murder, and a madman seeking revenge.


"The Sign of Four" is one of the most often adapted Holmes tales, with this 1932 film being the third version and the first talkie. It's a fast-moving and at times very chilling mystery film, with a cinematic style that often anticipates techniques that wouldn't come into wide use until the rise of film noir in the late 1940s and the 1950s. These stylstic flourishes help to offset some of the film's acting styles, which are still heavily influenced by what was then the fast-fading silent movies period, giving the film a more modern feel that many of the early talkies lack.

Another strong point of the film is the portrayal of Sherlock Holmes. Not only does Arthur Wotner's Holmes seem as though he was brought to life straight from the pen-and-ink illustrations in "The Strand Magazine," but Holmes here seems more at ease with himself and those around him than the one we most often find in the films. He comes across as a unmatched genius, but he also has a good sense of humor and a compassionate nature and friendly demeanor that makes it easy to understand why Watson admires him. Another aspect I like about this adaptation is the Holmes is shown to be as excellent at physical confrontations as he is with the matching of wits. During the film's climax, Holmes kicks much butt, just like the character that Doyle described in his fiction.

Similarly, Watson is portrayed as an intelligent and useful assistant to Holmes, so there is no difficulty in understanding why the Great Detective keeps him around and relies on him for important tasks. This cannot be said of Watson in several other Holmes adaptatations.

While I generally liked how Watson was handled in the film, one aspect of Ian Hunter's portrayal of Watson I didn't care for was the way he came across like a lecherous pervert whenever he was around Mary Morstan. He is ogling her, pawing her... obviously barely able to keep himself from jumping her right then and there. While I understand that the intent was to portray "love at first sight" between Watson and Mary--who becomes his wife in the Doyle tales--the combination of clunky writing and silent movie-type acting makes one wonder why Mary wasn't beating this disgusting lech (who is also at least twice her age) with his cane and then running screaming from the room.

While the film keeps most of the generalities of the original Doyle tale, there are a number of changes that lend the film to be internally inconsistent and even nonsensical at times. The villain is so over the top and reprehensible that one wonders why his henchmen stick around, or even helped him in the first place; while the fact that the entire stolen treasure seems to be intact when Mary is sent the pearls instead of partially spent as in the original story; and a bizarre bit of comedy involving the neigh-obligatory "Holmes-in-disguise" scene. Some viewers might also be annoyed by the fact the story has been transported from the 1800s to the modern-day period of the 1930s, but it really makes no difference to the overall thrust of the tale.

On balance, though, it's a strong adaptation that is made even stronger by Wontner's excellent portrayal of Holmes. It's well worth checking out.

Sherlock Sunday:A horse brings murder to Baskerville Hall

Murder at the Baskervilles (aka "Silver Blaze") (1937)
Starring: Arthur Wontner, Ian Fleming, Lyn Harding, John Turnbull Lawrence Grossmith and Arthur Goullett
Director: Thomas Bentley
Rating: Six of Ten Stars

Sherlock Holmes and Dr. Watson (Wontner and Fleming) are spending some quiet time in the country at the home of their old friend Sir Henry Baskerville (Grossmith) when an attempt to fix a race involving Sir Henry's prize horse Silver Blaze leads to a double murder.


Although this was Arthur Wontner's final outing as Sherlock Holmes--after a string of five films that caused critics of the day to describe him as the perfect screen Sherlock Holmes--I am choosing to make it the first of his films that I include in the Sherlock Sunday line-up, because of my love of continuity. Story-wise, it seems like it is best placed before the other Wontner Holmes films currently easily available, because it has him still actively employed as a detective and it describes his first direct clash with Professor Moriarty.

I can see Wontner's Holmes appeals to both fans and critics alike. He, moreso than any other actor in the role I've considered in a critical mindset, resembles the illustrations from the original printings in "Strand Magazine" and his Holmes is lively without being too aggressive and often sardonic without being excessively cruel to those he puts down. Best of all, from my perspective, although he is not shy about showing Watson how much smarter he is, he still treats him with the consideration due a friend and one never wonders why Watson bothers spending time with him. Wontner presents a charming Holmes that is somewhat low key when compared to the actors who followed him, but still entertaining. (And watching this Wontner film again makes me think that there must be another reason for why I didn't find Matt Frewer's Sherlock Holmes particularly engaging as the two portrayals are very similar.)

As for Watson, Ian Fleming provides a decent if unremarkable portrayal of Holmes' friend and biography. Both from the way the role is written and the way Fleming portrays Watson, it easy to understand why Holmes associates with him, which is a flaw in many on-screen interperations of the character. Watson even gets a moment in the sun when he is captured by Moriarty's men and remains brave in the face of certain death.

Speaking of Moriarty, who, like Sir Henry Baskerville has been added to the mix by the writers of this adaptation, I very much like the approach taken to him in his film. He and his main henchman, Colonel Moran, are set up like dark reflections of Holmes and Watson. Moriarty is to the underworld what Holmes is to the law-abiding citizen, a genius to whom they can appeal for help when all other avenues have been exhausted. It adds a great deal to the flavor of Moriarty and it makes it even clearer why the two men admired and hated each other so much and why it was so hard for one to defeat the other. (At least in concept. For a criminal mastermind, Moriarty is somewhat hamfisted and clumsy in this particular caper, although that can be excused by his own admission that fixing horse races is not his usual area of activity.)

All-in-all, this is a pleasant Holmes film. It's a little on the bland side, but I think fans of Holmes and 1930s mystery pictures will enjoy it. It's a shame that there does not appear to be a decent copy available on the DVD market. (I've come across three different versions, all equally faded and ragged... perhaps even taken from the same print?)





(I mentioned Matt Frewer's portrayal of Sherlock Holmes above. I invite you to check out my review of "A Royal Scandal" by clicking here and perhaps even leave a comment about why I might be wrong about Frewer as Sherlock Holmes.)

Bulldog Drummond'sRoad to the Wedding: Part Two

This is the second of two posts covering the eight Bulldog Drummond films produced by Paramount in the late 1930s. Click here to read some background on the series and its cast.


Bulldog Drummond in Africa (1938)
Starring: John Howard, E.E Clive, J. Carroll Naish, Heather Angel, Reginald Denny, and H.B. Warner
Director: Louis King
Rating: Seven of Ten Stars

Despite some extreme measures that adventurer Hugh 'Bulldog' Drummond (Howard) and his friends take to stop him from being drawn into yet another adventure that will ruin the plans for his wedding, Fate once again intervenes. When his fiance, Phyllis Clavering (Angel), witnesses the kidnapping of Scotland Yard's Colonel Nielsen (Warner) by notorious freelance spy Richard Lane (Naish), Drummond and the gang persue the bad guys all the way to Morocco to rescue him.


"Bulldog Drummond in Africa" is one of the very best in the series released by Paramount Pictures. It's got some of the best gags (Drummond and Tenny, trapped in Rockingham Lodge without pants and money to keep Drummond from being lured into trouble, doing Scottish dances in improvised kilts to entertain themselves gives even more entertaiment for the viewers), it's got the most suspenseful storyline so far (with everyone being placed in extreme mortal danger during the unfolding story, and Drummond and the entire gang having one of their most narrow escapes ever). From its opening scene to the final fade-out, the film moves along at lightning pace, never letting off on the banter, action, or antics.

On the acting front, Howard, Clive, and Denny return as the characters they've played in previous films, and they do their usual excellent jobs. Denny's character of Algy Longworth (the undisputed champion in the Upperclass Twit Olympics) has a little more to do in this film, and viewers who might have started to wonder why Drummond tolerates him, can start to understand why.

Also, Heather Angel and J. Carroll Naish return to the series with this episode, Angel resumes the role of Phyllis Clavering (which she played in "Bulldog Drummond's Escape"), while Naish appears as a different bad guy than he played previously. Both are excellent in their parts, with Angel delivering a more energetic Clavering than Louise Campbell did in the intervening three films. (Campbell did a good job, but I prefer Angel's Phyllis.) Naish, meanwhile, is playing a far more interesting, competent, and evil villian than the one he portrayed in "Bulldog Drummond Comes Back". He has some nice lines, and the always jovial demeanor of Richard Lane, who is a murderous sociopath, makes for a bad guy who is fun to watch, particularly in interplay with new series regular H.B. Warner, who takes over the role of Colonel Nielsen from John Barrymore.

With Warner joining the cast, Nielsen returns to the sort of character he was in the first couple of films. It's hard to say whether Nielsen was badly written in "Bulldog Drummond's Peril", but here the character is back in form, and the calm, upper-lip-so-stiff-it-must-be-made-of-bone fashion he deals with Lang and his spy collegues makes it clear why Nielsen and Drummond are good friends. Nielsen is far more than just a former Army officer and high-level government official--he's every bit the hardcase adventurer as Drummond, and we get to see that in this film, even if he is basically the "damsel in distress."

I recommend this film to fans of 1930s and 1940s pulp fiction tales, adventure films, and even those who enjoy the "Indiana Jones" movies. While this isn't a good point at which to start the series, those who have seen one or more of the earlier films should note that as of the fifth entry, this series is still on an upward quality climb. There are few other movie series that can be said about.


Bulldog Drummond's Secret Police (1939)
Rating: Six of Ten Stars
Starring: John Howard, Heather Angel, E.E. Clive, Reginald Denny, H.B. Warner, Loe Carroll, Forester Harvey, and Elizabeth Patterson
Dirrector: James Hogan

Just as it appears Hugh Drummond (Howard) and Phyllis Clalvering (Angel) are finally going to make it to their own wedding, a cooky historian (Harvey) shows up on the doorstep and says he comes to search for a massive treasure hidden in the catacombs below the Drummond family's ancestral home. A treasure hunt isn't enough to disrupt the wedding plans--Drummond thinks that can wait until the day after he and Clavering married--but the murder of the historian is. Drummond, his friend Algy (Denny), his faithful servant Tenny (Clive), house-guest Colonel Nielsen of Scotland Yard (Warner), and even Miss Clavering are soon searching the long-abandoned tunnels in search of a treasure and a deadly killer. But it's a deadly hunt, because the killer is one step ahead of them.


"Bulldog Drummond's Secret Police" is another strong entry in the series. The physical humor is strong in this one, and the action is fast-moving, entertaining, and downright suspenseful at times. In fact, there's a scene where several of our heroes are in ancient death trap and it actually feels like they might not escape.

The regular cast is excellent as usual, and they have Reginald Denny is funnier in this installment than he as ever been before, and Clive gets some excellent zingers off as well, with Tenny's signature "I rather like it" line being used to great effect on multiple occassions. Howard and Angel once again display excellent on-screen chemistry, and the viewer can easily understand why the two characters keep trying over and over again to get married, despite Fate continuially getting in their way. (In fact, Angel is perhaps the best I've ever seen her in this film--she lights up the screen in every scene she appears in, and she ends up as one of the feistiest "damels in distress" to ever make the bad guy regret taking prisoners.)

To add to the quality, this film can even serve as a jumping-on point for those who don't want to watch from the beginning. As it unfolds, the film manages to give a quick introduction of the characters and the ongoing "Road to the Wedding" subplot that's been running through the series since "Bulldog Drummond Comes Back" without boring those of us who have watched all the previous installments.

As good as it is, this episode is not exactly perfect. First, there is a very annoying, very stupid comic relief character that makes Algy look like a genius. Second, there's a problem with the villain of this episode. He's written in a very sinister fashion, he's got some good lines, and he proves to be a real threat to Our Heroes... but he's played by an actor who's nearly a non-entity compared to the high-energy performers he's surrounded by. Leo Carroll isn't exactly bad, but he's out of his league with the "Bulldog Drummond" ensamble.

I've said it before, and I'll say it again: This series of "Bulldog Drummond" films reminds me more of the "Indiana Jones" series than any other films from the 1930s I've seen. Heck, there's even a death-trap scene in this one that brings part of "Indiana Jones and the Temple of Doom" to mind... and in this installment Drummond and the gang are hunting for a lost treasure in an ancient castle!


Arrest Bulldog Drummond (1939)
Starring: John Howard, Reginald Denny, E.E. Clive, Heather Angel, H.B. Warner, and George Zucco
Director: James Hogan
Rating: Six of Ten Stars

Hugh Drummond (Howard) ends up a murder suspect when an international freelance spy (Zucco) kills an inventor and steals an experimental beam-weapon that remotely detonates gunpowder and explosives. With his wedding plans yet again disrupted, Drummond, his best friend Algy (Denny), his ever-resourceful gentleman's gentleman Tenny (Clive), and his fiance Phyllis (Angel) travel to a tropical island to capture the spy and return the deadly weapon to British hands.

"Arrest Bulldog Drummond" starts sluggishly, has a darker tone than the other entries in the Paramount-produced "Bulldog Drummond" series, and what gags that are present are rather tepid. The film is saved by a strong third act, the usual excellent performances by Howard, Denny, Clive, and Angel (with Denny and Angel getting quite a bit of screen-time, and their characters of Algy and Phyllis taking more active roles in the plot than usual), and a nifty turn by George Zucco as the sinister spy Rolf Alferson. Unfortunately, Colonel Nielsen (Warner) is once again reduced to a blithering idiot by the writers (something which seems to be a hallmark of the worst installments in the series.)

With a near equal amount of good parts and bad parts, "Arrest Bulldog Drummond" is one of the weakest entries in the series, with the strong finish and good performances by Zucco and the regular cast members barely managing to elevate the film to the upper-end of average. It's okay, but you won't miss much if you skip it.


Bulldog Drummond's Bride (1939)
Starring: John Howard, Heather Angel, Reginald Denny, Eduardo Ciannelli, H.B. Warner, E.E. Clive John Sutton, Gerald Hamer, Louise Mercier, and Louise Patterson
Director: James Hogan
Rating: Seven of Ten Stars

Phyllis (Angel) gives adventurer Hugh "Bulldog" Drummond (Howard) one final chance to marry her, forcing the matter to the point where she has promised to marry another suitor on the day immediately following their scheduled wedding should the date be missed again. But, despite the efforts of their friends and families (regular returning cast-members Clive, Denny, Patterson, and Warner), a small-town French mayor with a deeply romantic soul (Mercier), this wedding plan may be foiled by the deadliest obsticle yet: A murderous, bomb-happy bank robber (Cianelli) in search of revenge and the 10,000 pounds of loot that he hid inside Phyllis' portable radio and which Hugh shipped to France.


Whether or not Hugh Drummond and his fiancee Phyllis actually manage to complete their nuptuials, "Bulldog Drummond's Bride" ends the Paramount-produced series with a bang! It features one of the series' most sinister villains--second only to the opponent that almost fed Colonel Nielsen and Hugh to a lion in "Bulldog Drummond in Africa"--and a weddding ceremony that's exactlyl the sort of pay-off that's called for, given how long it's been in coming.

It's a little dissapointing that the characters of Tenny (Clive) and Colonel Nielsen (Warner) are reduced to playing very small parts, but the trade-off of John Sutton's character (Colonel Nielsen's assistant in four of the films, referred to mostly as "Inspector Tredennis", but called "Jennings" in "Bulldog Drummond's Revenge") getting to play a larger role, and to even manage to be the one to make sure Drummond stays put long enough to give his final hope of marriage even the slightest chance of happening; and the hilarious, pompous small-town mayor/chief of police character portrayed by Louis Mercier more than make up for it.

Although this final step of Bulldog Drummond's Road to the Wedding is a little short of hi-jinx (the only truly funny bit is bank-robber Henri Armides tormenting of a confused Algy (Denny)--the wild energy of the film's final minutes brings this series to a close at a very high point of quality.

Bulldog Drummond's Road to the Wedding: Part One

This is the first of two posts covering the eight Bulldog Drummond films produced by Paramount in the late 1930s. Click here to read some background on the series and its cast.


Bulldog Drummond Escapes (1937)
Starring: Ray Milland, Heather Angel, E.E. Clive, Guy Standing, Reginald Denny, Porter Hall, Fay Holden, and Walter Kingsford
Director: James Hogan
Rating: Six of Ten Stars

As "Bulldog Drummond Escapes" opens, daredevil adventurer Captain Hugh Drummond (Milland) is returning from an extended trip abroad. Over the objections of airport officials, he lands his private plane in thick fog before jumping into his sports car and speeding off to his country estate. Along the way, he comes across Phyllis Clavering (Angel), and before the night is out, he has to decide if she's a damsel in distress, or a mentally unstable woman, as her sinister wards (Hall and Holden) would have him believe. Before this most unexpected adventure is over, Drummond finds himself not only captured by a ring of spies, but finds himself heads-over-heels in love with Calvering. But will either of them live long enough to make good on the promise of romance?


"Bulldog Drummond Escapes" spends its first few minutes introducing the viewers to the main character and the supporting cast, and then proceeds to present a story that is not only engaging, but which features subplots that will continue to develop over the next five sequels, such as Algy's relationship with his wife and his struggle to balance a life of adventure with his friends Drummond and Tenny with that of a responsible husband and father; Colonel Nielsen's ongoing attempts to force Drummond to just behave like a normal citizen and stop sticking his nose in government business; and Drummond and Clavering's marriage plans that are forever interrupted by various bad guys and disasters.

Despite the fact that the first "Bulldog Drummond" films appeared in the 1920s, you would be well served to ignore those and just start your viewing with "Bulldog Drummond Escapes" and the other Paramount-produced films that follow it, particularly if "Bulldog Drummond at Bay" is any indication of the quality of the films that came before the Paramount series.

What makes this film, and its sequels, so much fun is the interplay between the characters and the snappy dialogue. The relationship between Tenny and Drummond is particularly fun.

Cast-wise, everyone does a fantastic job. Milland is adequate as Drummond, but he is greatly bolstered by excellent performances from E.E. Clive (as the ever-unflappable manservant Tenny) and Reginald Denny (as the ever-stressed and freaked-out Algy, who is trying to help Drummond out of his latest jam while supporting his wife as she gives birth to their first child). Heather Angel's character of Phyllis Clavering is something of a non-entity in this film, but she does as good a job as can be expected with the part... and she's as cute as ever.

With its fast-paced, well-constructed script and solid characterizations of a likeable group of people who are joined together by a sense of adventure, fun, and mutual respect, "Bulldog Drummond Escapes" is a great start to an excellent series of films.



Bulldog Drummond Comes Back (1937)
Starring: John Howard, E.E. Clive, Louise Campbell, John Barrymore, Reginald Denny, J. Carroll Naish, and Helen Freeman
Director: Louis King
Rating: Five of Ten Stars

Adventurer Hugh 'Bulldog' Drummond (Howard) is preparing to marry the love of his life, Phyllis Clavering (Campbell), his past comes back to haunt him in a major way. Phyllis is kidnapped by Valdin and Soldanis (Naish and Freeman), a sinister pair of characters with very personal reasons for wanting to torment Drummond. As he is drawn into a deadly game of riddles and clues where Clavering's life is the prize, he calls upon his friend Algy (Denny) and loyal manservant Tenny (Clive) for help, and to keep Scotland Yard's Colonel Nielsen (Barrymore) from accidentially causing Clavering's death.


"Bulldog Drummond Comes Back" is the weakest of the Paramount-produced Bulldog Drummond films, but not through any fault of the actors. Every performer featured is excellent and they play their roles with great style and good humor or deadly menace (depending on what side of the Good/Evil line the characters fall on). The problem here is the script... the situations presented never seems believable or sensible, even when viewed through the screwy lense that captures the world of Hugh Drummond and his pals. As a result, everything seems frivolous and pointless.

Still, the film is great fun to watch. With John Howard replacing Ray Milland in the role of Drummond, the energy and charm of the character is ratcheted up several notches, bringing a rapidfire pace to the film that will be a hallmark of the series for the six.

E.E. Clive also comes fully into his own as Tenny in this film, establishing a scene-stealing dry wit that gives rise to some of this film's funniest moments. He also plays fabulously off the other actors, and he makes a much better on-sceen partner to Howard than he did to Milland.

Louise Campbell, who takes over the role of Phyllis Clavering, is not quite as beautiful as Heather Angel, but, like Clive, she establishes the Phyllis Clavering character as she will appear in the future films--not quite as fully realized as Drummond and Tenny, but the foundation is put in place: As a spunky, self-reliant heroine who can give Dummond and the boys a run for their money. (And she does this while still remaining feminine and mostly proper. As one of the original "spunky heroines", Clavering is an interesting and fun character.)

Barrymore's first outing as Colonel Nielsen is greatly entertaining, although a bit out of character. His persuit of Tenny and Algy in a series of provides as many highpoints to this episode as Tenny and Drummond's banterings.

The rest of the cast performs expertly, as I mentioned above, with Naish being particularly strong in his first turn as a bad guy in the series (he shows up again in "Bulldog Drummond in Africa").

The great performances by the cast, and some snappy dialogue, almost lifts "Bulldog Drummond Comes Back" to the high-end of average... almost but not quite.



Bulldog Drummond's Revenge (1937)
Starring: John Howard, E.E. Clive, Reginald Denny, John Barrymore, Louise Campbell, and Frank Puglia
Director: Louis King
Rating: Six of Ten Stars

While preparing to travel to Switzerland with his friends Algy (Denny) and Colonel Nielsen (Barrymore), as well as his manservant Tenny (Clive), so he can finally marry the love of his life, Phyllis Clavering (Campbell), Captain Hugh Drummond (Howard) is drawn into a nefarious scheme by murderous froeign agents attempting to steal the only existing sample of a newly developed high explosive, Hexonite. Can Drummond and his friends round up the guilty parties without spoiling yet another set of wedding plans?


"Bulldog Drummond's Revenge" is a fast-paced adventure tale that keeps things funny and lighthearted--almost in spite a sequence where our heroes are tossing about a suitcase that don't realize contains unstable explosives, and a series of ghoulish gags involving a severed arm.

The regular cast-members provide their usual charming and witty performances. Clive shines particularly brightly in this outing, with Tenny's plain frustration with the antics of his "betters" giving rise to some very funny sarcasm.

The film's main weak point is its reliance on far-fetched coincidences to both get started and keep the characters involved in the events. (I could accept that Drummond and pals just happen to be driving along the road where bad guys are executing Stage Two of their scheme... but it taxes my ability to suspend my disbelief that Drummond and Phyllis's train compartment just happens to be next to the ones reserved by the bad guy. There's also the issue that Phyllis seems just a tiny bit too shrewish at times during the film; it's hardly Hugh's fault that a suitcase and a severed arm literally dropped out of the sky as he was returning from London.

This entry in the series will be particularly appreciated by fans of the "Indiana Jones" movies, as it has much of a same tone as they do.



Bulldog Drummond's Peril (1938)
Starring: John Howard, Louise Campbell, E.E. Clive, Reginald Denny, John Barrymore, Porter Hall, Matthew Boulton, and Halliwell Hobbes
Director: James Hogan
Rating: Seven of Ten Stars

&Hugh 'Bulldog' Drummond (Howard) once again courts danger (and misses his wedding date) when a security guard at his wedding reception is murdered, and he sets off in pursuit of the theif (Boulton) who stole a synthetic diamond that was among the wedding gifts. As a larger plot comes to light, and he and his manservant Tenny (Clive) run afoul the villains, his bride-to-be, Phyllis (Campbell), and his friend Algy (Denny) set out to find and rescue him. But will they make matters better or worse?


"Bulldog Drummond's Peril" is one of the best entries in the series. Fine acting, an engaging story, and attention paid to the events of previous films, it is certain to draw you in. (The fact that it pays attention to series continuity--the previous film ended with Hugh and Phyllis on their way to Switzerland to get married, and this one opens at the wedding reception a day or two before the wedding--makes it all the more enjoyable. If only more of the writers and producers of movie series in the '30s and '40s could have been bothered with such details....)

The film is part mystery, part adventure tale, and its convoluted plots twists back and forth as Drummond tries to catch a killer and unravel the many deceptions that are piled upon one another. And if the plot wasn't enough to keep the viewer interested, (There are two seperate groups of bad guys after the same goal but for different reasons, and they are alternatively cooperating and crossing each other, frustrating Drummond's efforts to get to the bottom of what is really going on.)

Although there isn't as much amusing banter in this film as in the three previous entries in the series--things are a little grimmer here, as one of Drummond's quarries is a respected business man and one of the peerage, (so Scotland Yard won't get involved without solid evidence of serious wrongdoing) and the laboratory of Algy's father-in-law is bombed--most of the returning castmembers give their best performaances of the series yet.

The villians of this installment are also superior both in writing and in the actors who portray them. In the previous two installments of the series, the bad guys were either a little too frivilous (in "Bulldog Drummond Comes Back") or too bland (in "Bulldog Drummond's Revenge"), but here they are perfectly slimey (the devious, arrogant British lord played by Matthew Boulton) or sinister (the sociopatic American scientist played by Porter Hall).

The film also provides an interesting expansion of the Drummond Universe in the revelation that Tenny is far, far more than just a clever gentleman's gentleman. He is himself something of an adventurer and a rogue with his own network of informants that he can tap into when he or Drummond needs it.

The only true weak point in the film, it John Barrymore's portrayal of Colonel Nielsen, Drummond's friend at Scotland Yard. In the previous three movies, Nielsen came across as consistenly irrirated with Drummond, but stll fairly professional, friendly, and even a little fatherly at times. Here, he comes across as an ignorant, bellowing jerk and almost slides into the "incompetent police inspector" stereotype that was so typical in films of this type. (He does get one of the films funniest lines, though right at the end where he effectively turns the tables of joking on Drummond.)






Please come back tomorrow for the reviews of the second and final half of the Paramount-prodcued Bulldog Drummond films.

Bulldog Drummond's Road to the Wedding: Introduction

There are eight films that make up the Bulldog Drummond series produced by Paramount Pictures between 1937 and 1939. It's a highly entertaining string of action/adventure/comedy films that are undeservedly obscure. (They are, for example, better on just about every level than the better-known "Mr. Wong" films from the same period.)

The “Bulldog Drummond” films are based on a popular British boys’ adventure book series by H.C. "Sapper" McNeil. (I've no idea how faithful they are to the source material, but based on what little I know about the original books, I think they're pretty far afield. But no matter. Fans of classic comedy and action will enjoy them... and I hold they're "must-see" for fans of Indiana Jones, because I suspect these films were among George Lucas' inspiration for those movies.


The Bulldog Drummond Films from Paramount Pictures
A wealthy man of noble heritage, Captain Hugh “Bulldog” Drummond was a combat pilot in WWI and when he returned from the war, he found life too boring. So, he became an adventurer and amateur detective. His faithful manservant Tenny was always ready to join him, as was his life-long friend, Algy Longworth. Tenny was the perfect gentleman’s gentleman (despite the roguish ways of his youth, and his love of motorcycles), and Algy was the very model of the typical upper-class twit (but with a strong sense of right and wrong). Later, the trio was joined by Phyllis Clavering, Drummond’s fiancé who sometimes showed herself to be Drummond’s equal in resourcefulness and spririt. They were further assisted by a mutual friend of Drummond and Clavering, Colonel Nielsen of Scotland Yard.

The title role of Bulldog Drummond was first played by Ray Milland. As of the second film, that role was taken over by John Howard, and I think he made a far better Drummond; Milland’s Drummond seems somehow more fey than Howard’s version, more upper-class playboy than adventurer.

The part of Drummond’s ladylove, Miss Clavering, was also played by two different actresses over the course of the series. In the first film, she was played by Heather Angel, who left the series for a while, but resumed the role later. In the intervening features, Phyllis Clavering was played by Louise Campbell. Both actresses did a fine job in the role, but Angel is not only prettier than Campbell, but she presents a more energetic Clavering, so I prefer her in the role.

The part of the long-suffering Colonel Nielsen, who wanted nothing more than for Drummond to stay out of official police and military business, was initially played by Guy Standing, and then by H.B. Warner in the final installments. In between, the part was played by John Barrymore, who, in the twilight of his career by the late 30s, had been relegated to B-features. However, Barrymore’s presence elevated the entire series, as he brought a level of talent, energy, and comedic timing that isn’t evident until you watch an episode in which he appears and follow it immediately with “Bulldog Drummond’s Bride.” Warner isn’t a bad actor, but his performance seems pale and lifeless when compared to Barrymore. I believe it’s a testament to Barrymore’s talent that he brought so much to the series, without being a scene-stealer; his contribution wasn’t fully noticeable until he was no longer making it.

Out of the cast of regulars in the series, only E.E. Clive and Reginald Denny appeared in each installment.

E.E. Clive played Tenny, Drummond’s perfect gentleman’s gentleman, who was both a loyal servant and a valuable resource in assisting Drummond and his companions with their adventures. It’s evident in the series that Tenny and Drummond are close friends as well as servant and master, and the chemistry between Clive and Howard on-screen make this bond even more real.

Reginald Denny portrayed Drummond’s best friend Algy with an ever-present twinkle and goofy physical comedy. The character was the official “comic relief” of the series (although every character and actor had their downright silly moments in this lighthearted adventure series). Although dumb as a post, and a bit on the cowardly side, Algy is ever loyal to his friends and ultimately reliable when push comes to shove. The character rounds out the cast nicely, and his happy marriage is probably one of the reasons Drummond and Clavering are constantly trying to tie the knot.

A running subplot/gag through most of the films is the fact that Drummond and Clavering are ALWAYS on the verge of marriage when some dangerous adventure disrupts the wedding plans. Even the extreme measures taken Drummond and his friends in “Bulldog Drummond in Africa” and “Bulldog Drummond’s Secret Police” can’t keep the wedding on track. However, in “Bulldog Drummond’s Bride” not even a mad bomber can stop the nuptials from taking place... even if it ends up being one of the oddest weddings on record!

Look for the first four reviews tomorrow!