"AFTER THE THIN MAN" (1936) Review
Following the phenomenon success of 1934's "THE THIN MAN", Metro-Goldwyn-Mayer decided to cash in on that success with a sequel, two years later. "AFTER THE THIN MAN", released in 1936, proved to be the first of five sequels that starred William Powell and Myrna Loy as Nick and Nora Charles..
Although the story for "AFTER THE THIN MAN" was created for the screen by Dashiell Hammet; Albert Hackett and Frances Goodrich, who adapted Hammet's novel for the 1934 movie, wrote the screenplay for this sequel. And W.S. "Woody" Van Dyke, who directed the first film, returned to direct "AFTER THE THIN MAN". Set nearly a week after "THE THIN MAN", this movie finds Nick and Nora Charles returning to San Francisco, following their vacation in New York. It is not long before they find themselves embroiled in the lurid problems of Nora's socialite cousin, Selma Landis. Apparently her ne'er do well husband Robert has disappeared to join his mistress, a nightclub singer named Polly Byrnes. Robert also tries to extort $25,000 from Selma's ex-love David Graham, on the promise that he will leave for good. Selma and her haughty mother, Aunt Katherine Forrest, asks Nick to find Robert and bring him back. Although Nick and Nora track Robert down to a Chinatown nightclub, where Polly sings, it is not long before he leaves and someone murders him before he can get that $25,000 and permanently be out of Selma's life.
Although "AFTER THE THIN MAN" failed to follow in the footsteps of its 1934 predecessor by earning a Best Picture Oscar nomination; Hackett and Goodrich's screenplay managed to earn a nomination. It is a pity that director "Woody" Van Dyke and the movie itself did not receive any nominations. Because the movie is regarded by many as the best of the six THIN MAN movies released between 1934 and 1947. Do I agree with this assessment? Honestly, I do not know. But I do know that it is my favorite movie in the series. I love "THE THIN MAN". But I really love this 1936 sequel. I feel that one of the reasons why my regard for it is so high is the narrative. The mystery surrounding Robert Landis' death and the other deaths that followed permeated with human drama. This especially became obvious in the scene featuring Nick Charles' revelation of the murderer.
As many people know, the Production Code finally came into effect in July 1934, two years and five months before the release of "AFTER THE THIN MAN". Yet, there is something about Hackett and Goodrich's screenplay that reeked with a Pre-Code sensibility. Who am I kidding? There is so much about this movie that practically screamed PRE-CODE. For one, the story is filled with extramarital sex, adultery, hatred, love, extortion, class bigotry, and some of the raciest humor to come out of a MGM film from the 1930s. As an added bonus, "AFTER THE THIN MAN" featured at least three musical numbers - two of them performed by Dorothy McNulty (the future Penny Singleton from the "BLONDIE" movies). My favorite proved to be the lively New Year's Eve tune, "Blow That Horn". Only one aspect of "AFTER THE THIN MAN" made it clear that it was released during the post-Code period - twin beds for Mr. and Mrs. Charles. I do have one major complaint about Van Dyke's direction. Following Robert Landis' murder, the movie's pace began to drag a bit, while Nick and Lieutenant Abrams initiated an investigation of the murder at the Chinatown nightclub and at Aunt Katherine's home.
Both William Powell and Myrna Loy returned in top form as Nick and Nora Charles. What can I say about them? What is there to say? They were perfect. They were magic. They were yin and yang . . . peanut butter and jelly. They were . . . oh, never mind. Whoever is reading this review probably has a very good idea about what I am trying to say. They were Nick and Nora . . . and that is all I have to say. The two second best performances came from James Stewart as Selma Landis' former boyfriend, David Graham and Joseph Calleia as the nightclub owner/con man "Dancer". Watching Stewart in "AFTER THE THIN MAN", it was easy to see how he became a star within two to three years. He gave a very natural and relaxed performance. And Calleia was deliciously menacing, yet suave as "Dancer". Frankly, I think he was one of the best character actors between the 1930s and 1950s.
Sam Levene gave a fine comic performance in his first appearance in a THIN MAN movie as Lieutenant Abrams. And Penny Singleton (I might as well call her that) was hilarious as the whining songstress/mistress Polly Byrnes. Elissa Landi gave an emotional portrayal as the much put upon Selma Landis, although there were times I found her a bit hammy. Alan Marshal has never struck me as an exceptional actor . . . just competent. But I must admit that I was very impressed by his portrayal of the slimy Robert Landis. William Law was deliciously subtle as "Dancer's" nightclub partner, George Zucco took his suave villainy schtick to portray Selma's sly and menacing psychiatrist. And yet, he gave one of the most emotional and funniest lines in the entire film. And what can I say about Jessie Ralph? I should have included her performance as the haughty and manipulative Aunt Katherine Forrest as one of the best in the film. Because she was magnificent in conveying Aunt Katherine's manipulative efforts in keeping her family together and her class bigotry against her nephew-in-law, Nick Charles.
I supposed there is nothing else to say about "AFTER THE THIN MAN". I cannot say that it is perfect. I feel that the sequence following the first murder could have been trimmed a bit. And one of the supporting performances occasionally drifted into hamminess. But aside from these complaints, I feel it was . . . perfect. In fact; thanks to Dashiell Hammett's story, Albert Hackett and Frances Goodrich's screenplay, W.S. "Woody" Van Dyke's direction and a superb cast led by William Powell and Myrna Loy; I feel that "AFTER THE THIN MAN" is one of my favorite films from the 1930s . . . and my favorite in the 1934-47 film series.