TEN LITTLE INDIANS (1965)

George Pollock, 1965

Starring: Hugh O’Brian, Shirley Eaton, Daliah Lavi, Fabian, Leo Genn, Mario Adorf

Eight strangers plus two caretakers are invited to a weekend party in a remote house in the mountains by a mysterious host, Mr. Owen, but they soon realize that they’re stranded there for the entire weekend and their host has accused them all of murder. Though he has promised to show up for their first dinner together, there is only a record with his voice charging each of them with a specific crime, which they all deny. But the first guest to admit that he is at least partially guilty is found dead soon after and the surviving members of the party realize that their host’s obsession with the “Ten Little Indians” poem could spell doom for them all...

Now generally known as And Then There Were None to avoid any of the racist connotations of the original title, Agatha Christie’s book is a must-read for anyone who likes murder mysteries and this film is the second adaptation of her much loved work. It contains some of my favorite of the genre’s themes: strangers trapped together in a confined space with no feasible way to escape, they are all murder suspects, and a murderer among them insures that they begin dropping like flies in some imaginative ways. Ten Little Indians diverges from Christie’s plot in several key ways, sadly, and the misanthropy of her book — where everyone actually is a terrible human being at best and some are actually murderers — is mostly absent, but I still have a real weakness for these sorts of plots.

Admittedly, Ten Little Indians also pales in comparison to the first adaptation of the film, René Clair’s 1945 film And Then There Were None. One of my favorite mystery films and one that is much closer to Christie’s novel, it relies more heavily on tropes found in the old dark house subgenre. The characters in that film are wildly unlikable, though Clair expertly builds tension and keeps the group as a whole sympathetic because of their understandable desire to stay alive. Any changes made to the script were largely because the Hays Code prevented Clair from depicted some of the novel’s bleaker themes, like teen pregnancy, something that Ten Little Indians did not have to grapple with in quite the same way.

For whatever reason, cult producer Harry Alan Towers and director George Pollock — hired because he made a number of successful films in the ‘60s based on one of Christie’s most popular recurring detectives, Miss Marple — decided to abandon the racier themes of Christie’s novel and go for more of a swinging ‘60s vibe. I can’t really say why I decided to include it in my British horror series, as it isn’t a horror film and abandons many of the spookier elements of Clair’s film in favorite of some hilarious death scenes (including two involving a tumbling from the mountain), but there is still something compelling about it and addicted to these types of mysteries. I love the snowy setting; though it doesn’t necessarily improve on the coastal English vibe from the first film, it adds a pleasantly continental feel, which is enhanced by a cast that is both English and European.

And that’s the real reason I think horror/cult fans will want to seek this out: the cast. Though there aren’t any major starring names, Christopher Lee has a cameo as the voice of Mr. Owen, lending his distinctive baritone to the memorable recording that accuses all ten of the guests of murder. Italian horror regular Daliah Lavi makes an appearance as a demanding, self-important actress, though my favorite appearance is from prolific actor Leo Genn (Green for Danger) as the amazingly named General Mandrake, what I would loosely call the protagonist for the first half of the film. Wilfrid Hyde-White (The Third Man), as the judge, is excellent and is especially allowed to shine during the second half of the film. And let us not forget Mario Adorf (!!!) who makes an appearance as a German caretaker, seeming far older than he was and more ridiculous than he would go on to appear to be in his numerous appearances in New German Cinema or giallo films.

Weirdly, overall, Ten Little Indians belongs to Goldfinger’s Shirley Eaton. Her performance here it made me wish she’d been in more mystery and horror films (rather than sex comedies) and now I have to revisit Jess Franco’s The Blood of Fu Manchu, in which she has a small role. The relationship between a secretary, Ann (Eaton), and an actor, Lombard (western star Hugh O’Brian) — which includes a sex scene — is a bit ridiculous and certainly there are a number of annoying characters, for example, I could really do without ‘60s pop singer Fabian, though his character is, blessedly, the first to die.

I don’t know if I can actually recommend Ten Little Indians. If you like murder mysteries, it’s an entertaining way to pass the time and anyone who loves Clue (1985) would probably be interested to see at least one or two versions of what is basically that film’s source material. There are a number of other versions of And Then There Were None to come after this film, and I’m also going to cover the 1974 version, which was directed by Straight on Till Morning’s Peter Collinson and stars both Richard Attenborough and Oliver Reed. It avoids some of the more absurd elements of Ten Little Indians — such as the lounge-appropriate, ridiculous, and very ‘60s score from Malcolm Lockyer, as well as the “Whodunit Break,” where you’re supposed to guess the identity of the murderer before he or she is revealed. And that goddamn cat. If you’re curious, pick it up on DVD.

SONG OF THE THIN MAN

Edward Buzzell, 1947

Starring: William Powell, Myrna Loy

The last of the Thin Man series is certainly better than the fifth entry, The Thin Man Goes Home, but isn’t really a fitting conclusion to the series - it simply feels like a random entry. Nick and Nora are partying at a charity event aboard the S.S. Fortune, a gambling ship owned by Phil Brant. The main entertainment is provided by a jazz band, but the band leader, Tommy Drake, soon informs Brant that he is leaving for a better job offer. Drake owes a gangster a lot of money and when he can’t get ahold of it, he tries to break into Brant’s safe, but is shot in the act. A number of people are suspects, but Brant is at the top of the list. He and his new wife, Janet, plead with Nick and Nora to take up the case and clear his name. Someone nearly kills Brant and Nick has no choice but to turn Brant into the police station to keep him safe. He is also now forced to take on Brant’s case or else he will be kept in prison permanently. 

Though there are some entertaining moments in each, the fifth and sixth films of the series just don’t measure up to the first four. This follows the traditional formula of red herrings, lots of suspects, and a conclusion where Nick gathers everyone together to reveal the real killer. Where in the first four films, Nora does little more than egg Nick on and encourage him to solve the case, in the latter two films she discovers an important clue: a painting in The Thin Man Goes Home and some jewelry in Song of the Thin Man. 

Powell and Loy are in better form here than in The Thin Man Goes Home, or at least the script treats them better. They are both still a joy to watch and make this a worthwhile rental. Gloria Grahame (In a Lonely Place) has an early appearance here as a singer and one of the key suspects. She is also one of three actors to get an early start with the Thin Man series before appearing in It’s a Wonderful Life, along with James Stewart, who appeared in the second film, and Donna Reed, who appeared in the fourth film. I was shocked to learn that Nicky Jr. is played by a very young Dean Stockwell (Blue Velvet, Quantum Leap). Though I saw his name on the credits, it took me a few days to process the fact that it was the same Dean Stockwell. The lovely Patricia Morison (Kiss Me Kate and Universal’s Inner Sanctum and Sherlock Holmes series) also makes a welcome appearance. 

The jazz background feels like filler and a lot of the dialogue really slows things down. While I think the Thin Man films as a whole have aged very well, the fifth and six entries are definitely an exception to this rule. There are simply too many characters and too many red herrings to maintain much of a serious interest about the murder mystery. It’s much the same with most of the other films, but those were bolstered by wit and snappy dialogue. Nick and Nora are the real draw and it is a shame that original screenwriters Albert Hackett and Frances Goodrich didn’t stay on to finish the series. Nick and Nora sadly feel like different characters in the hands of other writers. Song of the Thin Man is only recommended to Nick and Nora fans or anyone interested in early mystery-comedies, though it is a pleasant way to pass an hour or so. You can find the film in The Complete Thin Man Collection DVD box set. 

THE THIN MAN GOES HOME

Richard Thorpe, 1945

Starring: William Powell, Myrna Loy

This fifth entry in the Thin Man series is the first not directed by W.S. Van Dyke, who died in 1943. Richard Thorpe (Ivanhoe and Double Wedding with Powell and Loy) does a decent job taking up the directorial reins, but this is a completely different Nick and Nora and marks a major departure in the series. The film begins with Nick and Nora traveling on a very crowded train to visit Nick’s parents in a suburban town in New England. Though Nick has a strained relationship with his father, Nora is convinced that if Nick solves a crime, his father will be suitably impressed/proud. She starts some rumors around town that Nick is there on a case, which predictably brings a dead body to their door. An employee at a local aircraft factory came to reveal some information to Nick, but was shot before he could talk. There is also a painting making its way around town that everyone is dying to get their hands on. Sometimes literally. 

The Thin Man Goes Home is a bit disappointing and is only recommended for die hard fans of the series. There are a number of disturbing changes. First and foremost, no one drinks. The excuse is that Nick’s father doesn’t approve of alcohol, so Nick walks around drinking apple cider out of a flask. Really this is because of severe rationing during wartime, where it probably would have been inappropriate to show someone drinking heavily on screen. Secondly, there is a major emphasis on physical comedy. While some of these scenes are funny (a lawn chair Nora is sitting on collapses and she accidentally launches Nick out of a hammock and he lands on top of her, for all the neighbors to see), most of them are just ridiculous and don’t fit in the with tone of the series. Nick repeatedly falls chasing Asta in a train station, and he falls numerous times at his parents’ house, which is father chalks up to drinking. 

The third and most disappointing change is Nora’s character, which is completely different from the first four films. Gone is the delightful, witty banter between Nick and Nora. She’s become somewhat of a nosy, screeching shrew in this one and argues with Nick’s parents about how important he is. In a certain sense, it’s endearing, but it’s simply out of character for Nora. Insultingly, the film makes her the butt of several jokes, rather than a willing, intelligent participant in them. This film also substantially changes Nick’s background, which was established in the novel. Nora’s wealthy family looked down on him because he came from a family of working class Greek immigrants. Here he’s a doctor’s son from the suburbs of New England and his father disapproves of his lifestyle as much as Nora’s family. What? The suburban setting is also an odd change of pace, taking us far from Nick and Nora’s world of glamor, romance, drinking, and danger. This is also the only film to directly reference the war, as a major component of the plot are some stolen airplane plans. 

With that said, there are some positive moments. Lucile Watson and Harry Davenport give some good performances as Nick’s parents and Gloria DeHaven is quite funny as a young, dramatic actress caught up in the murder. There’s a great scene where Nora, thinking she has identified the murderer, a man who happens to be Nick’s friend, decides to tail him. Nick discretely tells him to give her a bit of exercise, which leads them all around town and into a shady pool hall (a place no proper lady was supposed to go). It turns out Nora is also being followed by a potential suspect, but she manages to slip away by starting a fight that spreads throughout the entire pool hall. She hides in a phone booth, calls the police, and then tells Nick about her adventure. He asks, “You did that without drinking?” There's another hilarious scene where he grabs Nora, bends her over his knee, and spanks her with a rolled up newspaper. 

Overall this is only recommended to Nick and Nora fans. It’s certainly the lowest point of the series, and though parts of it are still fun, it just doesn’t add up to the first and third films. The Thin Man Goes Home is available in The Complete Thin Man Collection DVD box set. 

SHADOW OF THE THIN MAN

W.S. Van Dyke, 1941

Starring: William Powell, Myrna Loy, Donna Reed

Though it is not one of my favorite entries in the six film Thin Man series, the fourth is still a strong effort and marks the final involvement of director W.S. Van Dyke. Back home in San Francisco, Nick and Nora plan to take the afternoon off and visit the racetrack, where Nick enjoys gambling, but they soon find themselves caught up in a case when a jockey is murdered. The police ask him to assist in finding the murderer and he soon uncovers a gambling ring, a framed man, more murders, and all kinds of other nonsense. 

Their young son, Nick Jr. (Dickie Hall) is featured more prominently in this film and is involved in some comic scenes with Nick. He’s not too annoying (I generally dislike children in movies.) There’s a great opening scene where Nick pretends to read to his son in the park, but he really has a racing guide hidden inside the children’s book. He is also tricked by Nick Jr. into drinking a glass of milk, instead of his preferred alcohol. Though the drinking is still relatively toned down in this film, Nora summons Nick by waving a cocktail shaker and wins over 250 martinis from him while gambling (on a turtle race). Overall this is a very action packed entry in the series and some hilarity results from a crowded wrestling match (keep an eye peeled for Tor Johnston, an Ed Wood regular) and a very funny restaurant fight accidentally started by their terrier, Asta. 

Powell and Loy are just as charismatic, though the dialogue is not quite up the level of the first three films. Nora is not in this film as much as the first three, which is probably why it suffers, though there are some nice performances from the supporting actors. A very young Donna Reed appears as the girlfriend of a man who was framed and famed acting coach Stella Adler makes a scene-stealing appearance as a gangster’s sweetheart. 

This is the first film not written by married team Frances Goodrich and Albert Hackett. Instead, Harry Kurnitz and Irving Brecher took up writing duties. Kurnitz was responsible for classics like the Audrey Hepburn romantic comedy How the Steal a Million and Brecher penned Meet in St. Louis. While they do a decent job, this is certainly less witty than the previous three films and involves a lot more spectacle. Fortunately it manages to rise above the slapstick, physical comedy that nearly drowns the fifth film. The plot is needlessly complicated, more so than the earlier films, and ends with the traditional scene where Nick rounds up all the main characters and suspects to reveal the killer. 

After this film, Myrna Loy took a break for three years to volunteer with the Red Cross in New York during WWII, but Shadow of the Thin Man was followed by two more, sadly inferior films. Shadow of the Thin Man is recommended for fans of Nick and Nora or anyone who loves classics comedies from the ‘30s and ‘40s. You can find this film in The Complete Thin Man Collection DVD box set. 

ANOTHER THIN MAN

W.S. Van Dyke, 1939

Starring: William Powell, Myrna Loy, Skippy, Otto Kruger

The third entry in the Thin Man series is my favorite next to the original Thin Man, despite the fact that Nick and Nora now have a baby, little Nicky Jr. This sequel probably holds up so well because director W.S. Van Dyke returned, as did screenwriting husband and wife team Frances Goodrich and Albert Hackett. Some of the filler scenes from the second film are removed, leaving us with more Nick and Nora, a better mystery, and more laughs. 

Nick, Nora, Asta, and Nicky Jr have returned to New York, but they are immediately summoned to the Long Island home of Nora’s family friend, Colonel MacFay. It seems the questionable Phil Church has been threatening the Colonel and even though the old man has dramatically increased security at his country estate, he wants Nick to get to the bottom of things. Despite Nick and Nora’s arrival, the Colonel is soon killed and Nick uncovers many more suspects than just Phil Church, including members of the Colonel’s own household. Can he and Nora discover the real murderer before someone else dies?

I was afraid that the addition of a baby would ruin a lot of the fun for this third film. Though Nora doesn't seem to drink at all and Nick drinks a lot less, the comedy keeps rolling. There’s a particularly funny scene where the Colonel has locked up his liquor cabinet to keep Nick focused and Nora embraces the old man in order to steal back the key. My only real complaint with the humor in the second film and this one are the constant jokes about Nick’s supposed infidelity, which is assumed a fact by many of the other characters. The first few times it was funny, but it has just become tedious by this point. Another Thin Man makes up for it a little more than the second film by including a funny scene at a night club where Nora attracts about a dozen men and is forced to dance with a particularly zealous admirer. 

There’s also a lot more action in this film and more murders than the previous efforts. The Colonel and the family dog both gruesomely have their throats slit, plus there’s the fact that someone murdered a dog at all (fortunately it’s not Asta). Another body goes missing, someone sets the Colonel’s swimming pool on fire, Nick is almost killed in the dark, and his life is repeatedly threatened. Though the film starts off as a parlor room mystery, it is soon awash with a number of characters ranging from questionable to unsavory. Nick’s usual ex-con friends show up and they are involved in what is probably the funniest scene in the film. Delighted that Nick and Nora have a baby, all of Nick’s old friends “borrow” babies and show up for a toddler birthday party. 

The acting is, as usual, wonderful and William Powell is as charming as ever, despite major life issues during this period. He took a break from filming Thin Man films to undergo several colon operations and was apparently quite weak during the filming of Another Thin Man. He was also mourning his fiancee, actress Jean Harlow, who died suddenly of renal failure in 1937. Loy, though now obviously creeping into middle age, is just as delightful as in the previous two films and the introduction of Nicky Jr lightens things up a bit. Otto Kruger (High Noon) makes an appearance as a suspicious D.A., Nat Pendelton returns as one of the detectives working with Nick, and C. Aubrey Smith steals a few early scenes as the stuffy, yet lovable Colonel. Tom Neal (Detour) is fittingly creepy as his secretary. 

Overall this comes highly recommended. If you only watch two films in the series, make it The Thin Man and this one. You can find Another Thin Man and the other five films in The Complete Thin Man Collection DVD box.

THE THIN MAN

W.S. Van Dyke, 1934

Starring: William Powell, Myrna Loy

"It's not true. He didn't come anywhere near my tabloids."

Retired detective Nick Charles, his younger, rich wife Nora, and their beloved fox terrier Asta are on vacation in New York for the holiday season when Nick is unexpectedly called out of retirement. An old friend, Clyde Wynant (the titular “Thin Man”), has disappeared and possibly been murdered. His daughter Dorothy begs for Nick’s help, particularly when Wynant’s girlfriend turns up dead and the missing Wynant is the main suspect. Nora is delighted that Nick is on the case again and curiously follows the proceedings, which take Nick into a world of blackmail, stolen patents, and murder. Nick narrows down the suspect pool and gathers them all together for an impromptu dinner party in which he forces the real killer to reveal him or herself.

Produced by MGM, this is really a cross between a drawing-room pot boiler and a screwball romantic comedy with murder and mystery to fill in the gaps. Many of the best scenes are unrelated to the mystery at all, such as Nick lounging in his pajamas and shooting balloons on the Christmas tree in their hotel room. One of my favorite moments is a gag repeated throughout all the sequels, where Nick dashes off to investigate and Nora, desperate to follow him, is tricked to go somewhere else. When they reunite, she is a bit rueful, but also clearly finds his behavior funny.

Based on Dashiell Hammett’s novel, The Thin Man, which was released the same year as the film adaptation, this is one of Hammett’s lighter works aside darker mystery and noir fare like The Maltese Falcon, The Glass Key, and a considerable amount of short fiction. Nick and Nora Charles were allegedly modeled on Hammett’s lengthy relationship with Lillian Hellman, a playwright. Interestingly, the screenplay for The Thin Man and the first few sequels was written by a married couple, Albert Hackett and Frances Goodrich, who also penned It’s A Wonderful Life and Easter Parade. 

Though The Thin Man was Oscar nominated, it lost against It Happened One Night, another Pre-Code, witty, dialogue driven romantic comedy from the same year. As with It Happened One Night, the relationship between The Thin Man’s central protagonists is far more compelling than the basic plot. With The Thin Man and its sequels, we really don’t care all that much about the murder mystery, the social drama, or whodunnit. We care about the Charles’ relationship, their charmed lifestyle, witty banter, and obvious love for one another. Those elements help to make this film such an enduring classic and allowed the five following sequels to be enjoyable as well. 

The dialogue is oddly self-aware and feels a lot more modern that other romantic comedies from the period (except for It Happened One Night). There are cleverly placed sexual innuendos, plenty of irony and double entendres, and both Nick and Nora seem to be constantly making fun of themselves, the other characters, and the steady stream of alcohol. Though the characters drink constantly (even more so in the book), the film doesn’t judge them or present them as alcoholics and the alcohol is more a status symbol, a form of social lubricant, and a way to alleviate the boredom of upper class, non-working life. Though Nora claims to have a hang over in one scene (she did drink 6 martinis at a time to catch up with Nick), alcohol never slows them down or seems to affect them in any physical way. Both characters are always at the top of their mutual game as far as wit and intelligence go. 

William Powell is the real star of the film and carries the majority of the scenes. His mix of warmth, wit, charisma, charm, and icy rationality make him one of the most compelling characters in detective cinema or romantic comedy films. Not to be outdone, the adorable Myrna Loy is always able to keep up and the two had wonderful charisma (they were close friends in real life and co-starred in 14 films together). They also both look great and exude style and class throughout the film, despite the low budget and scant 12 day shooting schedule. The rest of the cast is also entertaining, including performances from Skippy the dog as Asta, Maureen O’Sullivan (Tarzan), and Cesar Romero (Joker from the Batman TV show). On a final note, the “Thin Man” is not meant to refer to Nick, but rather Clyde Wynant. The reference to him being a tall, thin man is a clue that helps Nick later in the film. 

The film comes highly recommended. If you’ve never seen a classic comedy from the ‘30s or ‘40s, this is definitely the place to start and I can promise that you won’t be disappointed. The Thin Man is available in The Complete Thin Man Collection DVD box set along with the five sequels: After the Thin Man (1936), Another Thin Man (1939), Shadow of the Thin Man (1941), The Thin Man Goes Home (1945), and Song of the Thin Man (1947).

THE THIN MAN Series

Famed mystery writer Dashiell Hammett’s final novel The Thin Man (1934) was such a hit that MGM produced a film six months after the novel’s release. This was nominated for an Academy Award and was so popular that MGM kept the series going for five more films. The novel focuses on two of Hammett’s most popular and enduring characters, Nick and Nora Charles. Nick is a retired detective devoted to his much younger and richer wife. Along with their dog Asta, the Charles’ engage in quite a lot of drinking, exchange plenty of witty dialogue, and solve a few murders along the way. I’m going to take an in depth look at the entire series. All six Thin Man films, plus two documentaries, William Powell: A True Gentleman and Myrna Loy: So Nice To Come Home To, are available in The Complete Thin Man Collection DVD box set. 

William Powell and Myrna Loy star as Nick and Nora Charles in The Thin Man (W.S. Van Dyke, 1934), a comic mystery film about a retired detective, Nick Charles, dragged back into the game when he and Nora vacation in New York. The “Thin Man” refers to Clyde Wynant, a missing man that Nick is hired to locate. Wynant’s girlfriend turns up dead and his daughter is desperate to prove his innocence. Both excited and amused, Nora encourages Nick to take the case. They plow through a lot of martinis and dinner parties before Nick gets to the bottom of a case involving stolen money and a hidden corpse. The most important part of the film (and the series in general) is not the murders or Nick’s detective work, but his endearing relationship with his wife, which is often sarcastic, touching, humorous, and unabashedly alcoholic. 

In After The Thin Man (W.S. Van Dyke, 1936), Powell and Loy returned for this sequel (and all the others, fortunately) alongside James Stewart. This was written by Dashiell Hammett, though it is not based on another novel or story. Nick and Nora return home to California and are roped into a family dinner, where Nick is again hired to find a missing man: the husband of Nora’s cousin. It turns out he is having an affair with a night club singer and attempts to blackmail one of his wife’s friends/old paramours. When her husband turns up dead, it’s up to Nick to find the murderer. 

Another Thin Man (W.S. Van Dyke, 1939) is based on Hammett’s story “The Farewell Murder.” Nick and Nora are on vacation again, but this around they have a son, Nicky, Jr. The family, along with Asta, have returned to New York for a weekend on Long Island with a family friend, Colonel MacFay. MacFay wants to hire Nick, because he’s been receiving threats. Unfortunately the Colonel is murdered and Nick has to investigate. Though there is an obvious suspect, he thinks something more sinister is afoot.

Shadow of the Thin Man (W.S. Van Dyke, 1941) has Nick and Nora (and Nicky and Asta) trying to relax, yet again, but they are sucked into another murder when a jockey is shot to death at a racetrack that they happen to be visiting. This time the local police request Nick’s help finding the murderer. He uncovers a gambling ring and another murder, and this time Nick and Nora are sucked into far more action, including a fight at a restaurant and a wrestling match. After this film, there was a four year pause in the series, due to Myrna Loy volunteering for the Red Cross during WWII. 

The Thin Man Goes Home (Richard Thorpe, 1945) is so far the biggest departure in the series. Nick and Nora and family are on vacation once again, this time visiting Nick’s parents in New England. An employee at an aircraft factory attempts to contact Nick, but is shot to death before he gets a chance. Nick is forced to spring back into action and find the man’s killer. A number of things factor into the case, including an odd painting and a local mad woman. This is also one of the few Nick and Nora films to directly reference the war, as aircraft blueprints are central to the murders. 

The last film in the series, Song of the Thin Man (Edward Buzzell, 1947), is another departure, in terms of the tone and plot of the earlier films, but fortunately ends on a relatively high note. Nick investigates the murder of Tommy Drake, the head of a jazz band employed as entertainment on a gambling ship. Nick’s friend and the ship’s owner, Phil Brant, is the main suspect and Nick must work to clear his name, particularly after an attempt is made on Brant’s life. It will not be easy, as Drake had a number of enemies, including gangsters and other musicians. 

Powell and Loy were one of many Hollywood dream teams, ultimately appearing in 14 films together. William Powell (1892 - 1984) was one of MGM’s biggest stars. He studied acting in New York and appeared on Broadway before moving to Hollywood in the early ‘20s. Powell acted in almost 100 films throughout his long career. His regular on screen partner (they were also quite good friends in real life), Myrna Loy (1905-1993), began as a dancer and had a few roles in the later years of silent cinema. The Thin Man helped establish her career and allowed her to take more robust, serious roles. She was in even more films than Powell at almost 140.

Aside from their 6 Thin Man films, Powell and Loy partnered for 8 additional films. Manhattan Melodrama (1934) is a crime-tinged melodrama about a love triangle involving Powell, Loy, and Clark Gable. Evelyn Prentice (1934) has a similar theme, but involves a murder and wrong-man scenario. The Great Ziegfeld (1936), a musical, is a total change of pace and concerns the creation of famed entertainment act, the Ziegfeld Follies. Libeled Lady (1936), a screwball comedy that co-stars Jean Harlow and Spencer Tracy, is about a socialite who sues a newspaper for libel and the editor’s attempts to trick her into dropping the suit.

Double Wedding (1937) is another romantic comedy about a director who convinces a young woman to become an actress, much to the chagrin of her sister and fiancée. I Love You Again (1940) is another romantic comedy about a man who has an accident and remembers his former life as a conman, but tries to change his ways. As with I Love You Again, Love Crazy (1941) is about a couple on the verge of divorce, this time because of an old girlfriend and a pushy mother in law. The Senator Was Indiscreet (1947) is a political comedy about a senator who wants to become president. Some of these films can be found in the Myrna Loy and William Powell Collection. The six Thin Man films come highly recommended, particularly the first four, and represent the best of what the comedy-mystery subgenre has to offer. 

SWIMMING POOL

Francois Ozon, 2003
Starring: Charlotte Rampling, Ludivine Sangier, Charles Dance

Though usually advertised as a sexy murder mystery or psychological thriller, Ozon's breakthrough film is more about the difficult process of writing and, as a writer, I absolutely loved it. Sarah (the great Charlotte Rampling) is sent on holiday by her publisher and part-time lover John (Charles Dance). She is a well-known mystery and crime fiction novelist, but is suffering from the strain of her lonely, London existence. John is eager to help her move past writer's block, but also seems interested in getting rid of her for awhile.

She heads to his home in the French countryside and settles down to a relaxing, if isolated schedule of writing. Late one night she is startled by the arrival of Julie, John's young, pretty French daughter who has shown up unannounced. Though Sarah is initially irritated by the younger woman's presence, she soon becomes fascinated by her voracious, indiscriminate sexual appetite and the secret diary hidden in Julie's bag. The two strike up a competitive friendship and Julie invites over a waiter Sarah is interested in, partly to drag her out of her repressed, English shell and partly to make her jealous. Sarah retires to bed and Julie makes a pass at him, which he rebuffs, only to turn up missing the next morning.

It turns out that Julie's mother died in some sort of accident and Julie has a breakdown, confusing Sarah for her mother. Sarah begins to care for Julie, discovering that the poor waiter has been stashed in the pool shed. Julie admits it was an accident and the two women go about disposing the body. Julie gives Sarah a manuscript she claims her mother had written years ago, one that John refused to publish. Sarah returns home and finishes two books, the murder mystery she was initially working on, as well a newer, more personal book based on Julie's mother's manuscript, called Swimming Pool. She meets with John, who doesn't like the book, and confides that she has already had it published and is moving to a new firm. As she exits his office she passes his daughter Julie, who is pretty and blonde, but is not the same girl from the villa.

Though Swimming Pool went in a totally different direction than I expected, I loved it. There's a great script and wonderful performances from the two women. I'm a huge Rampling fan, so I went in expecting her to make the film a success. French actress and model Ludivine Sangier is also perfectly cast as Julie.

Swimming Pool received favorable reviews, but a number of critics and film-goers had a problem with the ending, when Ozon abruptly reveals that Julie, at least as we have come to know her, does not exist. I honestly don't see what the problem is. As I mentioned earlier, I enjoyed the film so much because of its comments on what it's like to be a writer. In addition to the isolated, daily hours of self-discipline required, you also have to have enough experiences, imagination, and spontaneity to be inspired. As Alan Moore will tell you, artists and writers, like magicians, create and shape their own realities. Is this what Sarah has done for the purpose of her fiction?

For a sexy murder mystery, this isn't overtly sexy or too violent. Ludivine Sangier is frequently nude and exudes youthful sex appeal, but the sex scenes are carefully edited and barely rate as softcore. Rampling is one of those women, like Helen Mirren, who will be incredibly sexy regardless of age and her repressed British sexuality spills out over the edges in her fascination with Julie, obsessive voyeurism and masturbatory dreams.

This film comes highly recommended. Check out the unrated single-disc DVD from Universal. For the subtitle wary keep in mind that the dialogue regularly switches back and forth between French and English.