Murder at the Vanities (1934) User Reviews

deliciously different

[mukava991 · 7/10 · 22 April 2009]

This murder mystery with musical numbers is long on atmosphere and character but rather short on suspense and plausibility. Based on a stage play by Broadway showman Earl Carroll and others, it combines a whodunit plot with a backstage ambiance (a homicide investigation takes place on opening night at the theatre where a musical revue is being staged).

The cast is impressive and varied: tough-goofy Victor McLaglen as the police officer who leads the investigation and never fails to leer idiotically at whatever showgirl happens to be in sight; Jack Oakie (the prewar Jack Lemmon – or was Jack Lemmon the postwar Jack Oakie?) as the harassed director who must coordinate the staged performance as well as the chaos behind the scenes; the ever-homely Jessie Ralph as a wardrobe mistress with deep, dark secrets; Dorothy Stickney, who has a stunning close-up monologue near the end, as the tremulous maid madly in love with the male lead; Carl Brisson, the Danish star, as that very male lead, warbling the classic "Cocktails for Two" not once but twice; Kitty Carlisle, operatically delivering "Where Do They Come from and Where Do They Go" and other Johnston-Coslow songs; the glorious Gertrude Michael, who parted from us too soon, as a mean-spirited showgirl whose love for Brisson is spurned; the usually ridiculous Toby Wing who here at least is the center of a laugh-getting running joke.

When the plot complications get out of hand there is always an interesting performer or fun and tuneful musical number to distract the viewer. The film's most celebrated sequence is the "Marahuana" number, led by Michaels, but aside from its controversial history, it's really one of the lesser musical offerings. All of the songs here are staged as if they could actually have fit into a standard proscenium theatre space, as opposed to the cinematic fantasy setup of the Busby Berkeley style.

Mystery at the Musical Theater

[lugonian · 7/10 · 14 March 2009]

Earl Carroll's MURDER AT THE VANITIES (Paramount, 1934), directed by Mitchell Leisen, from the stage work by Earl Carroll and Rufus King, marked the studio's contribution to the stage musical of the precode era. Almost in the league as Warner Brothers' WONDER BAR (1934), with plot set in a single night revolving around an handful of sinful characters, VANITIES contains its own assortment of odd characters, great interplay between Jack Oakie and Victor McLaglen, risqué dialog and semi-nude chorines listed in the opening credits as "The Most Beautiful Girls in the World," makes this particular production something to consider.

Producer Earl Carroll is ill and unable to attend the opening night of his Vanities, which leaves Jack Ellery (Jack Oakie), former reporter turned stage director, in charge. Eric Lander (Carl Brisson) and Anne Ward (Kitty Carlisle), the show's leading couple, plan on getting married after the performance, much to the dismay of temperamental blues singer, Rita Ross (Gertrude Michael), who wants Eric for herself and will stop at nothing to get him. Before the curtain goes up, Anne finds her life being threatened by falling props and sandbags that nearly miss her, causing Ellery to notify his friendly rival, Police Lieutenant Bill Murdock (Victor McLaglen) to investigate. Sadie Evans (Gail Patrick), a female investigator hired by Eric, arrives to return valuable information stolen from him by Rita. Because Miss Evans has learned more than she should, her life is threatened by Helene Smith (Jessie Ralph), a wardrobe woman with a mysterious past of her own. During a performance, blood is felt dripping upon a chorus girl, causing her to scream and Murdock to trace the dripping blood to the body of Sadie Evans, stabbed by a large pin. When Rita threatens to expose what she knows about Eric in Vienna, she, too is murdered by a mysterious bullet. The show goes on as Ellery and Murdock work together in hope of rounding up the usual suspects.

Other members of the cast include Charles Middleton as Shakespearean actor Homer Boothby; Donald Meek as Doctor J.T. Saunders; and Barbara Fritchie as Viven. Notable performances go out to the comic-strip appearance of Dorothy Stickney as Norma Watson, Rita's abused maid; and Toby Wing as Nancy, the giggly blonde wanting desperately some time alone with Jack Ellery, who constantly casts her aside until later. Kitty Carlisle, best known for her role opposite the Marx Brothers in A NIGHT AT THE OPERA (MGM, 1935), and as TV's panelist on the 1960-70s quiz show, TO TELL THE TRUTH, performs well in her motion picture debut, especially opposite Carl Brisson who, at times, resembles Carlisle's NIGHT AT THE OPERA love interest, Allan Jones, but minus the Danish accent.

A well-crafted murder mystery with an abundance of fine tunes by Arthur Johnson, Sam Coslow and Johnny Burke, include: "Cocktails for Two" (sung by Carl Brisson); "Where Do They Come From and Where Do They Go?" (sung by Kitty Carlisle); "Lovely One" (sung by male chorus); "Where Do They Come From and Where Do They Go?" (concluded by Carlisle); "Live and Love Tonight" (sung by Brisson); "Sweet Marijuana" (sung by Gertrude Michael); "Cradle Me With a Hatcha Lullaby" (instrumentally performed by male dancers); "The Rape of the Rhapsody" (sung by Brisson, orchestrated by Duke Ellington and his Band; reprized by Kitty Carlisle); "Doing the Ebony Rhapsody" (sung by Gertrude Michael); "Cocktails for Two" (sung by Brisson, chorus); and Finale: "Live and Love Tonight," "Sweet Marijuana" and "Cocktails for Two."

While "Cocktails for Two" became a song hit that that was later spoofed in the 1940s by band-leader Spike Jones, "Live and Love Tonight" is actually one of the better and nicer tunes helped by its production number treatment set on an island with Brisson as the sole male surrounded by under-dressed island girls (Carlisle included) and others using ostrich feathers as water waves. Gertrude Michael's rendition to "Sweet Marijuana" surrounded by dancing shadows, appears to be the sort of tune 35 years ahead of its time, fitting more into the 1960s hippie generation than 1934. Franz Liszt's "Second Hungarian Rhapsody," the longest of the production numbers, is an interesting attempt turning slow tempo classical composition to upbeat jazzy orchestration with Duke Ellington at the piano. Larry Ceballos and LeRoy Prinz are credited for their impressive (or suggestive) choreography.

Rarely televised possibly due to its subject matter that make precode movies all the more worth seeing today, MURDER AT THE VANITIES, having been one of an assortment of rare classic films aired Sunday nights (1974-75) on Hartford, Connecticut's WFSB, Channel 3, did become available on home video in the 1980s (retail price: $59.95) and finally DVD in 2009. Its availability should add to the rediscovery of buried treasures such as this. (***)

Pre code with Kitty Carlisle and some racy numbers

[jjnxn-1 · 6/10 · 10 October 2013]

Murder mystery with a musical backdrop shows its age but has some interesting numbers in particular Duke Ellington's orchestra's production and the now infamous Marijuana number with discreetly covered but unquestionably topless showgirls. Lost in amongst the hundreds of hopeful showgirls and chorus boys are Lucille Ball, Ann Sheridan and Alan Ladd all still years away from any kind of fame and hard to spot. The acting is okay but this is more of a curio as a good example of some of the things that were common before the code, implied or actual nudity, drug references and occasional swearing that would disappear for almost 3 decades when the Hayes code took full effect within a very short time after this film premiered.

Kitty Carlisle Sings and Gets Involved in Murder

[drednm · 12 March 2006]

A Murder investigation goes on back stage while The Vanities, on its opening night, plays on to an unknowing audience. Odd combination of musical and murder mystery is worth a look for its cast, its terrific production numbers, and the sheer novelty of the film.

Gertrude Michael has the showy role of a bitchy actress intent on stopping the marriage between the show's stars, Kitty Carlisle and Carl Brisson, as well as starring in the infamous "Sweet Marijuana" number (which was also on a 70s Bette Midler album). So while the chorus girls shuffle around backstage, bumbling detective Victor McLaglen ogles the girls while he tries to solve the backstage murder of an unknown woman whose body is found on a catwalk above the stage.

We quickly learn that the maid (Dorothy Stickney) loves Brisson from afar, that the wardrobe lady (Jessie Ralph) is Brisson's mother, and that the stage manager (Jack Oakie) butts into everything. Lots of plots twists among the musical numbers. The show's best-known song is "Cocktails for Two" sung by Brisson and Carlisle. They also sing "Live and Love Tonight" on a tropical isle surrounded by showgirls waving feather fans to simulate the ocean. Carlisle also sings the haunting "Where Do They Come From?" Gertrude Michael sings the infamous "Sweet Marijuana." And there's a weird rhapsody that erupts into a Harlem specialty number featuring Duke Ellington!

Some terrific acting here, especially Gertrude Michael and Dorothy Stickney. Kitty Carlisle is quite good as well. Brisson, Oakie, and McLaglen are all solid.

Charles Middleton plays Homer, Toby Wing plays Nancy, Donald Meek plays the doctor, Gail Patrick plays the unknown woman, and see if you can spot Ann Sheridan, Alan Ladd and Lucille Ball among the chorus members.

Backstage mayhem

[MikeMagi · 7/10 · 1 February 2015]

Rarely has a movie mixed as many unlikely co-stars -- and genres -- as "Murder at the Vanities." Mixed up in the mystery of who slew a brunette in Earl Carroll's rafters are brash, beaming Jack Oakie, wooden European crooner Carl Brisson, Kitty Carlisle (long before "To Tell the Truth,") Victor McLaglen as a burly flatfoot whose accent suggests he just emigrated from Dublin and Dorothy Stickney who would go on to appear in Broadway's longest-running hit, "Life with Father." My vote for outstanding performance is Stickney as the dim-witted maid whose hysterics are worth the price of admission. Then again, so are the scantily clad chorines garbed in not much more than gossamer just before the Production Code came in.

Daring and unique musical / mystery combo

[gridoon2024 · 6/10 · 28 January 2012]

I doubt anyone had ever tried anything like this before - a musical murder mystery - and probably very few tried it afterwards; I did see a film with a similar recipe about a month ago ("Murder In The Blue Room", from 1944), but that one was a low-budget production with only three musical numbers; here, the numbers are many, long and lavish. The songs themselves are not especially memorable, with the exception of "Sweet Marijuana", and the astonishingly titled "The Rape Of The Rhapsody"!! The mystery is complicated enough to make you wonder just what the hell is going on, and the film also captures the hectic backstage atmosphere of the premiere night of a grand-scale theatrical show; there are even some touches of surrealism ("Mildred LaRue! Mildred LaRue!"). Gertrude Michael sinks her teeth into the role of a bad-to-the-bone diva and is more fun to watch than good-girl Kitty Carlisle. Probably considered racy in 1934, the film is rather tame by today's standards, but it's still worth your time. **1/2 out of 4.

Some Songs with a Movie Wrapped Around It

[evanston_dad · 7/10 · 27 December 2012]

A fast-paced murder mystery set backstage at a performance of Earl Carroll's Vanities.

It's clear the filmmakers' primary motivation was to showcase the Vanities and realized they needed to wrap a movie around it. Far more screen time is given to the lavish musical numbers featuring countless scantily clad women than to the mechanics of the nominal plot, but that's not a criticism. It's rather fascinating to see this unique brand of stage entertainment captured in all its antiquated glory, and honestly the women are more interesting to watch than the story anyway. And though this is mostly a disposable B movie, it really does come alive in a special way during some of the musical moments, and some of the magic of seeing this kind of show performed live is captured on screen.

The cast includes an appealing Kitty Carlisle and a humorous Victor McLaglen, right before he was to win an Oscar for John Ford's "The Informer." Duke Ellington also makes a cameo.

Pretty fun stuff.

Grade: B+

Duke Ellington in his brief number was the highlight of Murder at the Vanities

[tavm · 7/10 · 10 February 2008]

Since this is Black History Month and I'm reviewing the achievements of many African-Americans on film in chronological order, I got this movie on VHS from the library because Duke Ellington and his Orchestra were in it. Their jazz version of Franz Liszt's "Rhapsody" was the highlight of this mostly overlong murder mystery-musical comedy mixture. Many other numbers I liked were Kitty Carlisle's especially "Sweet Marijuana", Carl Brisson's "Cocktails for Two" as well as his duet with Carlisle on that earlier, and the ones by Gertrude Michael who's great as the woman you love to hate. Jack Oakie and Victor McLaglen probably go a little too long with their love/hate banter as the producer and detective but they grow on you. And Toby Wing is a sexy dumb tease as Nancy who keeps trying to say something to Oakie but gets a "Not now" from him every time. While many of the characters have a motive for the murders that happen, I wasn't surprised by the revelation of who done it. And get a load of how naked the women here are (though of course their breasts are covered, either by their hands or some flimsy top). This was very obviously pre-Code. Worth a look for any film buff interested in this sort of thing. P.S. As a long-time Louisiana resident, I like noting when someone was born here as Carlisle was a New Orleans native.

WONDERBAR amped to 11

[ptb-8 · 8/10 · 4 June 2010]

Thus sumptuous Paramount art deco musical is almost a definitive pre code extravaganza and is on per with WONDERBAR and FASHIONS OF 1934 and TOP HAT as the glittering perfection of code- cusp risqué showgirl and nightclub sophisticated sexiness. Made at Paramount in late 1933 and clearly designed to outshine the WB Busby Berkeley extravaganzas, this one does it with nude showgirls, drug references, weapons, a slinky killer, murder in the ceiling and dripping blood, and big stage show numbers all crammed over the orchestra pit on the opening night of a big Broadway show. I was reminded of almost every Busby Berkeley film but clearly on a lower budget with the difference being made up by having spectacular costumes. In color this film would be an enduring musical of its time. In gorgeous B&W it still rates but one can see how colorful the costumes are even in monochrome. One startling song SWEET MARIJUANA manages the unparalleled feat of including nudity drugs murder and blood all on screen during the tune. There is a hilarious and nutty island mermaid number and a fantastic and simple art deco staging of COCKTAILS FOR TWO. This film clearly influenced THE GREAT ZIEGFELD made at MGM in 1936.

A Warner's Musical it Ain't!

[jbacks3 · 7/10 · 28 September 2003]

Financially strapped Paramount pulled out all the stops for this '34 stage adaptation entry: big budget, large cast, extravagant production and Mitch Leisen tagged as the director. What happened? Two things: Busby Berkeley didn't work there and a final draft murder mystery script that didn't deserve to be in the same trash can as the worst Charlie Chan first draft. I have to believe that the cutting was out of Leisen's hands since the great Duke Ellington's number is savagely chopped, but that doesn't mean that it ain't worth a look: the 'Sweet Marihuana' number featuring topless chorus girls is a mind blower, considering the looming production code and it also has the ravishing Toby Wing (unfortunately fed horrible lines and playing the prototype dumb blonde) as a chorus girl hot for an otherwise preoccupied Jack Oakie. Carl Brisson's acting is bland as Melba Toast but he's a competent singer. MacLaglen reaches for new plateaus as a stereotypical dumb detective. And try to spot Lucy in the chorus. This rates a 7.0 as a curiosity. Feb 2010 re-think: I recently gave the film another look and now feel I was wrong to berate the lack of Busby Berkeley production numbers. I can understand Leisen's argument for more realistic production numbers within the context of the plot. I still have enormous issues with the editing however. Paramount, the raciest major studio in town, faced huge issues with the Production Code at the worst possible time in it's history, financially speaking, and pulled out all the stops on this one (also check out 1934's Search for Beauty). A must see for pre-code buffs.

Even the Duke couldn't save this one.

[pmcenea · 5/10 · 23 August 2003]

I rented this movie because of the title and the cast. I was taken with the fact that Kitty Carlisle, Jack Oakie and Carl Brisson (terrific in "The Manxman") were in it, not to mention the Duke Ellington Orchestra.

I can't complain about the thin plot line because I didn't expect much more, to be honest, but I was disappointed with the flat acting and production numbers. This movie really cried out for Busby Berkeley and, I think, Zazu Pitts (I have to admit Dorothy Stickney was excellent at the crazy maid).

All of this would be acceptable if it wasn't for the way they handled the Duke Ellington Orchestra number. It was shameful to give him so little time and use that particular number. But, I think it was reflective of the way the movie was directed. I find it amazing this movie didn't bury Mitchell Leisen's career. I gave it a generous 5/10.

Mischievous musical and Pre-Code last hurrah

[melvelvit-1 · 10/10 · 24 January 2009]

Released just before the Production Code crackdown in July, 1934, Mitch Leisen's all-star Paramount musical is both leeringly suggestive -some even claim misogynistic- and a heck of a lot of fun. Two murders occur on the opening night of "Earl Carroll's Vanities" (one on-stage), but that doesn't stop the manager (Jack Oakie) from putting on a show as a lascivious police detective (Victor McLaglen) investigates. Everyone is hiding something and Gypsy Rose Lee must have seen this backstage murder mystery before she penned "The G-String Murders" as the denouement is similar, albeit more satisfying here. Gertrude Michael, as a vicious diva, stops the show (in more ways than one) with her exotic "Sweet Marijuana" number and Duke Ellington finishes with the truncated "Rape Of The Rhapsody". The hit song, "Cocktails For Two", also came from this bizarre and bawdy camp classic. Here's Louella O. Parsons in the "Los Angeles Examiner" on May 17, 1934:

Earl Carroll's hand-picked beauties' pirouette about on the Grauman United Artists screen in a fig leaf and not much else. But September Morn herself never had a better figure than these charmers, who are made up to please the eye, especially the eye of the tired businessman. But don't for a moment think Mr. Carroll's girls, au naturelle, are the only attraction. Believe it or not, MURDER AT THE VANITIES is a musical comedy thriller, if you know what I mean -a murder mystery incorporated in a musical show. It all happens on the opening night at the time the play is in progress and a search is on for a murderer. Just by way of suspense, a cop threatens to stop the show every few minutes. Victor McLaglen is something new in cops. All the time he is trying to track down the murderer, he keeps his eye fastened on the chorus beauties. The murder mystery is good with the exception of the denouement, which is pretty flat. Probably faulty direction. Dorothy Stickney, who plays the maid, is about as melodramatic as the heroine in a ten, twenty, and thirty show. For no good reason, she rates a never-ending closeup in the big dramatic scene. The girl ensembles are good, and it's a positive relief to get away from the inevitable overhead shots. The costumes are beautiful; in fact, this is a musical that Paramount can feel is really to their credit. As for Carl Brisson -well, he would be an addition to any show. Good-looking with a delightful singing voice and an easy, assured manner, he is all his press agents claim for him. I also like Kitty Carlisle, who plays the leading lady in the show. Gertrude Michael, as the deep-eyed villainess, gives an interesting if rather fictional portrayal. Jack Oakie, as the stage manager, is the same old wisecracking Jack, but we wouldn't change him. Jessie Ralph is excellent as the seamstress. Others in the cast are Charles Middleton, Gail Patrick, Donald Meek, Barbara Fritchie, Toby Wing and Lona Andre. The screen play is by Carey Wilson and Rufus King, and the direction by Mitchell Leisen. The music is by Arthur Johnstone and the lyrics by Sam Coslow. In addition to MURDER AT THE VANITIES, there is a Mickey Mouse cartoon, a Paramount Newsreel, and a two-reeler, THE WRONG DIRECTION.

I disagree with Lolly on the denouement, it's satisfying if over-the-top. Why would she blame the director? Was she displeased with the story's ending -or the way it was staged? And what's a "ten, twenty, or thirty show"? Note the swipe taken at Busby Berkeley and his "overhead shots". As hard as it may be to believe today, the public was tiring of Buzz' schtick by May, 1934. Mitch Leisen said, "if you are showing a stage show that's supposed to be in a theater, you should stay within the bounds of the proscenium arch, and not do a Buzz Berkeley routine with a stage set that's acres big."

Q: Don't you think Berkeley's spectacular effects justified taking this liberty? ML: Apparently they did because they're reviving all of his pictures and none of mine, but personally I don't like it.

Not great, but well worth seeing

[planktonrules · 6/10 · 17 May 2009]

This film is a very strange amalgamation of two types of films--the Busby Berkeley-style musical (like 42ND STREET, FOOTLIGHT PARADE and GOLDDIGGERS OF 1933) combined with a B-mystery. And, on top of that, the film has Pre-Code sensibilities that would shock most today. The newly strengthened Production Code was enacted in 1934 and this one snuck in just before it was adopted. As a result, a lot of surprising material got into the film, such as a song and dance number called "Marijuana" as well as the skimpiest costumes you can find in showgirls during the era. Heck, making them totally naked wouldn't have been that different than what you see here! Purely because of its Pre-Code excesses it's worth seeing!

Now is this weird concoction worth seeing other than for lovers of Pre-Code films? Well, yes, but only if you have a high tolerance for lots and lots of singing and dancing. The film abounds with one enormous production number after another and to be quite frank, other than Marijuana, the other songs are amazingly forgettable. So is the dancing, unless you really love trying to sneak peeks at all the exposed flesh--trying to see if you can catch sight of something a bit more! As for the mystery, it is interesting but unfortunately it's obscured by all this singing. However, most of the characters (such as those played by Jack Oakie and Victor McLaglen) were enjoyable and helped to obscure the odd casting of Carl Brisson despite his heavy accent. His singing was just fine, but when it came to romance and acting, he did seem like a very unlikely actor for this film.

Overall, it's a passable film but a real treat for those who love to see and marvel at the very loose morals of the Pre-Code films. They just don't come a lot looser than this!

What would Savonarola have said?

[1930s_Time_Machine · 3/10 · 30 October 2022]

Warning: this is nothing at all like a Busby Berkeley WB musical, it's best described as mildly interesting rubbish.

It's a silly crime drama set during a performance of a vaudeville review. There is an awful lot of review which musically is absolutely awful. The singing which infests the whole film is that terrible faux-opera style which Paramount seemed to think was classy. Unless your are tone-deaf, this will result in you searching for the mute button - Oh how you'll long to hear Ruby Keeler's wonderful off-key singing!

So what possible reason could there be to keep watching this? One answer might be lots of naked ladies! The story is set against the backdrop of a vaudeville review: The Vanities. Earl Carroll's Vanities were a real thing back in the late twenties and these infamous shows had one purpose: Titillation. They featured "the most beautiful girls in the world" often naked or semi-nude in elaborate tableaux set to a musical score. For the big screen however a small nod towards modesty was made such as flower petals carefully positioned over the models' nipples etc but nevertheless this film easily has the most nudity of anything from that era. Although some of us might not want to admit it, this is very pleasant to see but because of the tasteful way it is presented, the effect is to turn these girls into one-dimensional cartoon characters. Unlike in a Busby Berkeley movie, the girls on stage appear only on stage; we don't get to know them backstage or in the main story so they never become real. Without any emotional engagement with them, as pretty as they are, they're just nice to look at but not at all sexy. One exception is Toby Wing, known as the most beautiful chorus girl in the world. She popped up in non-speaking parts in loads of films back then, most notably as the girl with the pretty smile in the 'Young and Healthy' number in 42nd Street. She was a very sexy young lady and I reckon would be pleased to get a 'shout out' all these years later!

Almost as bad as the singing is the acting. The lead actors in the story are all without exception, terrible. They are the epitome of badly written caricatures and none of them have any more personality than the cartoon girls on stage. Worst actor of the decade award must go to Carl Brisson who is obviously a cardboard cut-out - maybe the actual actor refused to appear in this?

To explain the title of this review - Girolamo Savonarola was the charismatic religious fanatic who briefly took over Florence in the 15th century to purge the city of vice, immorality and sin with bonfires all sinful objects - The Bonfire of the Vanities, 1497. (Yes, he whom Game of Thrones' High Sparrow was based.) This film would be right on top of his biggest pyre!

Wonderful little pre-code musical

[boris-26 · 19 December 2000]

Detective Victor McLaglen has to investigate a backstage murder and not mess up the debut of pal Jack Oakie's musical revue. You won't care about the rather hum-drum murder, the musical numbers will floor you. During a performance of "Sweet Marijuana", (this virtual lullaby to reefer has topless back-up dancers!) blood from the murder victim in the rafters drips down on the dancing girls! Toby Wing is fun and cute as the flirty chorus girl with a crush on Oakie. Loads fun here!

Despite two murders, the show must go on

[bkoganbing · 6/10 · 17 April 2013]

Murder At The Vanities is probably best known for introducing Cocktails For Two by the Paramount songwriting team of Arthur Johnston and Sam Coslow. But the straight version of the ballad sung and introduced here by Carl Brisson of Denmark has been totally eclipsed by the madcap version of Spike Jones who did the song with the usual charm and dignity associated with him.

Other than Cocktails For Two, Murder At The Vanities concerns a pair of homicides of some of the women in the show. Homicide cop Victor McLaglen is on the case and he zeroes in on Brisson who has some past connection with both of the deceased who are Gail Patrick and Gertrude Michael as well as his current squeeze Kitty Carlisle. He'd like to arrest Brisson right then and there, but director Jack Oakie is at his wit's end wanting to keep the show going because he feels he has a hit. Oakie frustrates McLaglen at every turn, but despite the backstage homicides the show does go on.

This film beat it under the wire for the Code otherwise we would not have a song in it extolling the virtues of marijuana. Take note of two other good performances, Dorothy Stickney as a much put upon maid and Toby Wing who created a character that Marie Wilson would hone to perfection at Warner Brothers as one dumb as nails platinum blond.

Despite all the beauty, the real entertainment in this case is the rivalry between McLaglen and Oakie who work at cross purposes, but eventually things turn out right.

Pre-code musical murder mystery comedy done in by the music

[dbborroughs · 7/10 · 8 August 2005]

During the opening night of the Vanties a woman is found dead on the catwalk above the stage. As the show continues the police attempt to piece together who killed who and why before the final curtain.

I had always heard that this was a great classic comedy mystery so I was excited to find myself a copy. Unfortunately no one told me about the musical numbers which go on and on and on. While the numbers certainly are the type that Hollywood did in their glory days, they become intrusive because they pretty much stop the movie dead despite attempts to weave action around them. This wouldn't be so bad if the music was half way decent, but its not. There is only one good song. Worse its as if the studio knew they had one song, Cocktails for Two, and we're forced to endure four versions of it: a duet, a big production number, as the Vanities finale and in the background as incidental music. I don't think Spike Jones and His City Slickers ever played it that much. The rest of the movie is pretty good with Victor McLaglen sparring nicely with Jack Oakie. Charles Middleton is very funny is his scenes as an actor in love with the wardrobe mistress.

By no mean essential I can recommend this if you think you can get through the musical numbers, or are willing to scan through them. Its a fun movie of the sort they don't make any more.

Interesting musical but dramatically weak

[allans-7 · 7/10 · 12 June 2008]

Mitchell Leisen's fifth feature as director, and he shows his versatility by directing a musical, after his previous movies were heavy dramas. He also plays a cameo as the conductor.

You can tell it is a pre code movie, and nothing like it was made in the US for quite a while afterwards (like 30+ years). Leisen shot the musical numbers so they were like what the audience would see - no widescreen shots or from above ala Busby Berkeley. What I do find funny or interesting is that you never actually see the audience.

As others have mentioned the leads are fairly characterless, and Jack Oakie and Victor McLaghlan play their normal movie personas. Gertrude Michael however provides a bit of spark.

The musical numbers are interesting and some good (the Rape of the Rhapsody in particular is amusing) but the drama unconvincing and faked - three murders is too many and have minimal emotional impact on the characters. This is where this movie could have been a lot better.

Risque Murder Mystery

[view_and_review · 7/10 · 12 April 2024]

"Murder at the Vanities" was fun for a murder mystery. To begin with, the movie was produced in the Hayes Code era, but I think this movie may have slipped through the cracks. They pushed the limits with outfits in this one. As a comparison, Loretta Young and Carole Lombard were shown in just their bra in "Born to Be Bad" (1934) and "Twentieth Century" (1934) respectively, yet the outfits in "Murder at the Vanities" were skimpier than anything I've seen pre-1935. In one scene the women were using only their hands to cover their breasts, and other outfits were showing plenty of side boob.

That was about as spicy as the movie got. As a murder mystery, it was standard fare. A producer named Jack Ellery (Jack Oakie) was putting on a big production called The Vanities. His two leads, Eric Lander (Carl Brisson) and Ann Ware (Kitty Carlisle) were engaged to be married which upset another main character named Rita Ross (Gertrude Michael).

Rita Ross was a mean one. She was bitterly jealous of Eric and Ann even though she and Eric were no longer an item, and she was abusive to her hired help, Norma (Dorothy Stickney). Jack was having a difficult enough time handling the three personalities without murders happening on his set, which is what happened backstage.

A female private eye was killed in the rafters where dangerous items had been falling from near Ann (Eric's fiance). Jack was trying to keep the show going while also allowing the police to investigate. It was a tough juggling act.

Rita Ross would be killed before the movie ended. I only bring it up because she was killed by a bullet while a prop gun was being fired. It's the same thing that was done in "The Death Kiss" (1932), "The Crime of Helen Stanley" (1934), and "Journal of a Crime" (1934).

What truly differentiated "Murder at the Vanities" from other murder mysteries was Jack Ellery doing his level best to prevent the cops from shutting down his production before it was over. He had to do a lot of convincing and it made for some comedic scenes.

Free on Odnoklassniki.

Tons of fun, with a great cast

[aadamtx · 8/10 · 10 April 2009]

I just viewed MURDER AT THE VANITIES in the newly-released Universal Pre-Code set, and I was amazed at how much I enjoyed the vehicle end to end. Most of the other commentators have covered the story, a murder mystery within a musical, but I wanted to add a few additional notes. Brisson and Carlisle are relatively bland, compared to even most of the minor players, and neither one really seems to have the proper voice for what they're singing (Carlisle being a trained opera singer, Brisson a bit wobbly on some of his high and low notes). The great Victor McLaglen and Jack Oakie play well off each other, with an excellent sense of timing that keeps the ball rolling between musical numbers. Yes, Lucille Ball and Ann Sheridan are Vanities girls, but let's not forget the splendid jazz singer Ernestine Anderson in the "Ebony Rhapsody" number. Gail Patrick makes one of her early appearances, sounding a bit like Eve Arden; Patrick would go on to become the executive producer of the Perry Mason TV series. Then there's Jessie Ralph as the wardrobe mistress--you'll spot her also in David COPPERFIELD (as Aunt Peggoty) and THE BANK DICK. The music is very good--Brisson introducing the standard "Cocktails for Two" in two different scenes; "Sweet Marihuana" with barely clad peyote button girls in the background (blood dripping on one chorine's white skin was wonderfully chilling); the "Ebony Rhapsody," with Duke Ellington's Orchestra and a bevy of beautiful dancers, both black and white, mixing it up. And I believe this is one of the only early musicals to feature such a mix--and the costumes leave nothing to the imagination.

One of the very few films to mix musical and murder mystery.

[case-50 · 7/10 · 24 December 2022]

While musicals and murder mysteries were two of the most popular genres of the '30s there still aren't too many films that mix the two. While there might be more, besides Murder at the Vanities I only came across two so far: Forty Naughty Girls the sixth and last Hildegarde Withers movie, a nice, but mostly forgettable quickie released in 1937. And also from 1937, the excellent Premiere a film made in Austria, which actually is an (as far as I know) uncredited remake of this movie. But while Premiere has a more serious tone, including some actually rather convincing detective work, Murder at the Vanities focuses more on the musical and comedy elements and of course being as risque with the dance numbers and the show girls' outfits as possible, so it can go out with a bang just before the Hays Code made anything like that impossible.

The plot revolves around the murder happening backstage during the premiere of a stage musical and the efforts of the director and the rather incompetent police officer to solve the case without interrupting the show. Several people come under suspicion, but all of them are dismissed eventually until they finally manage to find the actual culprit just as the show ends. It is neither the best mystery, nor the best musical comedy of its time, but as a combination of two it is very entertaining and works extremely well.

It's murder for sure!!

[Greensleeves · 4/10 · 28 December 2006]

Despite the lavish production numbers and wonderful costumes this film is a chore to watch. The murder-mystery plot is just a vehicle to mount the musical numbers on but it often brings the proceedings to a staggering halt besides not being very involving. Although there has obviously been a lot of money spent on them the numbers are badly staged and poorly photographed. It's obviously a pre-code film because the girls often wear very little clothing and there's even a song singing the praises of marijuana! The performances are all one-note although it's nice to see Carl Brisson in a musical but when Victor McLaglen, as the police Lieutenent, lurches into view for the umpteenth time on the hunt for clues, you may want to throw in the towel or at least fast-forward to the next number. Pity the patrons who were trapped in the cinema on its release though!

Murderous Mayhem Backstage

[bbmtwist · 10/10 · 6 November 2016]

I thoroughly enjoyed Murder At The Vanities, a film I'd only heard about in passing, but now thankfully, it is part of my collection.

Brilliantly conceived and executed by a wonderful ensemble with every role perfectly played. Dorothy Stickney does deserve a special nod as the maid. She is unforgettable.

I've rarely heard Kitty Carlyle sing, knowing her only from What's My Line? And the Song Of Norway cast album. She does very well as the female lead. This is the fifth film of Carl Brisson's I've seen and as usual, he is charming and debonair, with an effervescent personality and a lovely voice. Good use is made of the always dependable Jessie Ralph in a pivotal supporting role and Gertrude Michael as the villainess is a rare find. McLaglen and Oakie make great sparring partners as respectively, the homicide detective and the stage manager, trying to keep an opening night running smooth despite multiple murders off-stage.

Songs: Cocktails For Two; Where Did They Come From?; Live And Love Tonight; Marijuana; Ebony Rhapsody.

Lucille Ball, Ann Sheridan and Alan Ladd are to be glimpsed as extras, both Ball and Sheridan multiple times.

Act One ends about 51 minutes into the action and my print ran a total of 1:29:30.

An absolute delight from beginning to end. I'm astounded it is not better known to the movie public. Don't miss it!

Final Pre-Code Film Goes Out With Bang-Glorious Beauties On Display

[LeonLouisRicci · 7/10 · 8 April 2022]

Hollywood's Freedom of Expression came to an End in 1934 with the Implementation of the Hays Code.

A List of Banned and Forbidden Images, Topics, and Subjects would Go into Effect and Oppressively Dominate what Americans Saw on Movie Screens for close 35 Years

This is One of the Last Films to be Released Without Restrictions and the Movie is Typical of the Musical Comedy Revues that had been a Popular Entertainment at the Movies in the Sound Era.

The Girls are Scantily Clad and On Full Display as the Light-Weight Murder-Mystery Unfolds.

"The Vanities" Lacks the Panache and Hyper-Movement, and Breadth of Busby Berkley's Signature Kaleidoscopic Eye-Poppers, the Girls are more Posed than in Motion, but You can Get a Good Look.

Victor Mclaglen is the Police Detective Sparring with Jack Oakie Backstage as the Parade of Semi-Nude Beauties is Never-Stop.

A Prime Example of a Short-Lived Art-Form that would become Tamed Along with the Rest of America's Movie-Output.

A Free-Wheeling Celebration of Life through Razz-Ma-Tazz with "The Most Beautiful Girls in the World".

Don't miss this goodie!

[bernebner · 22 April 2004]

It's not Busby Berkeley, but it's probably the next best thing. I rented the VHS from the New York Public Library and the print was devine! Yup, they don't make 'em like this any more...not even Busbey made them this racy! The performances with the exception of Jack Oakie are uniformly terrible ... terrible in the way that early 30's movies can be (I did not include Jack Oakie in this observation, because Jack Oakie is always Jack Oakie). It's a shame that Duke Ellington section was completely wasted and as per the observation above, his efforts were probably severely cut. It's a shame that Toby Wing never made it to star status...she was a stunner par excellence and could deliver a sarcastic and/or dumb blone line with the best of them. The MARIJUANA number alone makes this flick one for the memory book.