Although Warren William had already played Perry Mason in Alan Crosland's The Case of the Howling Dog (1935), and would continue to play the attorney/detective in The Case of the Lucky Legs and The Case of the Velvet Claws, it's this second outing that all classic film addicts are anxious to view, chiefly because it marks the Hollywood debut of Errol Flynn.
Actually, although Errol's role is important, it's also quite small. He doesn't speak but appears very briefly in a flashback. It's Warren William who steals all the limelight and is given all the brightest lines. With the exception of Olin Howland, the other characters are in the movie simply to supply William with "business"and this being an "A" productionplenty of it. Even the title heroine, nicely played by Margaret Lindsay, disappears for most of the action. We also see very little of Della Street. It's Mason who makes things happen all the way, as he strides through the vast backlot and studio sets at a frantic pace, trading verbal blows right, left and center.
The speed of the narrative is ingeniously reinforced by a snappy quick-zoom/focus-out editing style (which was picked up in a popular TV series 20 years later). Other credits are likewise highly professional, but, despite all this cinematic dexterity, I feel the movie tends to outstay its welcome. The plot is too thin, and Lindsay's dilemma is not made sufficiently dramatic.
Actually, although Errol's role is important, it's also quite small. He doesn't speak but appears very briefly in a flashback. It's Warren William who steals all the limelight and is given all the brightest lines. With the exception of Olin Howland, the other characters are in the movie simply to supply William with "business"and this being an "A" productionplenty of it. Even the title heroine, nicely played by Margaret Lindsay, disappears for most of the action. We also see very little of Della Street. It's Mason who makes things happen all the way, as he strides through the vast backlot and studio sets at a frantic pace, trading verbal blows right, left and center.
The speed of the narrative is ingeniously reinforced by a snappy quick-zoom/focus-out editing style (which was picked up in a popular TV series 20 years later). Other credits are likewise highly professional, but, despite all this cinematic dexterity, I feel the movie tends to outstay its welcome. The plot is too thin, and Lindsay's dilemma is not made sufficiently dramatic.