Associate producer: Sam Bischoff. Copyright 22 September 1934 by Warner Bros Pictures, Inc. Presented by Warner Bros Productions and The Vitaphone Corp. New York opening at the Rialto: 17 October 1934. U.K. release: 11 May 1935. Australian release: 9 January 1935. 8 reels. 75 minutes.
SYNOPSIS: Does a neighbor's dog howl? If so, why?
NOTES: First of only two films featuring long-running Broadway stage actress, Helen Trenholme. The only other picture I have for her is "The Firebird" (1934).
COMMENT: Fascinating. Based on the 1934 novel by Erle Stanley Gardner, this entry certainly gives the lie to the oft-told story that Alan Crosland's sound films were stodgy affairs and that the brilliant director of such non-talkie classics as Under the Red Robe, Three Weeks, Don Juan and The Beloved Rogue lost his skills under the burden of sound. Crosland was noted for his flashy style in the silent era, but was allegedly unable to bring this expertise to bear on talkies thanks supposedly to the cumbersome sound-boothed and blimped camera. This may have been true in the early days of recording when sound men ruled the set. But by 1934, the camera had been liberated again and directors like Crosland were free to follow their penchant for effectively dramatic panning and tracking shots which give such added impetus to such scenes as the opening in the crowded courtroom and Mason's "chance" encounter with Holcomb in the street. The first shot with its almost 360 degree pan not only shows us how tightly packed the court is, but gives an urgency to Mitchell's address — he is off- camera for most of the shot — which would be lost in a routine cut to a close-up. In the second set-up, the tracking shot clearly shows us not only that Holcomb is shadowing Mason but that the attorney knows it and thus revels in the chance to put one over the flatfoot.
The whole film is distinguished by a stylish but not over- worked camera, plus some of the most engaging performances ever presented in a Perry Mason opus. Warren William is perfect, as usual. In fact, more polished, more suave, more sharp, more quick- witted, more intelligent, more charming. He is not only the best Perry Mason ever, but here he appears at his absolute peak.
Lovely Helen Trenholme presents such an utterly charming Della Street, one can only wonder why she was not hired for the rest of the series. The other ladies are not far behind in the acting honors: ravishing Mary Astor, who has this vulnerable quality which makes her beautiful face so entrancingly sympathetic; Dorothy Tree, wonderfully mysterious.
Warren William faces some excellent competition. As the bested District Attorney, Grant Mitchell has the sort of role he can put over with polish; but watch for Allen Jenkins as the hounding Sergeant Holcomb. It's a straight dramatic part without a trace of humor which Jenkins plays with consummate authority. I also enjoyed Harry Tyler as a bamboozled cab-man, and especially James Burtis as the persistent George Dobbs, one of Mason's investigators who assists Eddie Shubert in shaking down Miss Tree.
Other characterizations that deserve mention are Arthur Aylesworth's deputy sheriff, Russell Hicks' playboy millionaire and Gordon Westcott's harried neighbor. Addison Richards brings a nice touch of teasing authority to the role of the judge.
What a shame that other entries in the series didn't use this superbly fluid, cleverly scripted and most entertainingly acted entry as the model for all future Masons. In this one, as enacted by Warren William, Perry is much closer to Gardner's conception. As the city's most successful lawyer, Mason presides over a huge suite of offices, chock-a-block with clients and staff. He loves the publicity and success which enables him to be arrogant, masterful, belittling and choosy. With his secretary, Della Street, he is tenderly romantic. Everyone else, he orders about. This is the Mason we like, the Mason that Warren William so persuasively brings to life.
SYNOPSIS: Does a neighbor's dog howl? If so, why?
NOTES: First of only two films featuring long-running Broadway stage actress, Helen Trenholme. The only other picture I have for her is "The Firebird" (1934).
COMMENT: Fascinating. Based on the 1934 novel by Erle Stanley Gardner, this entry certainly gives the lie to the oft-told story that Alan Crosland's sound films were stodgy affairs and that the brilliant director of such non-talkie classics as Under the Red Robe, Three Weeks, Don Juan and The Beloved Rogue lost his skills under the burden of sound. Crosland was noted for his flashy style in the silent era, but was allegedly unable to bring this expertise to bear on talkies thanks supposedly to the cumbersome sound-boothed and blimped camera. This may have been true in the early days of recording when sound men ruled the set. But by 1934, the camera had been liberated again and directors like Crosland were free to follow their penchant for effectively dramatic panning and tracking shots which give such added impetus to such scenes as the opening in the crowded courtroom and Mason's "chance" encounter with Holcomb in the street. The first shot with its almost 360 degree pan not only shows us how tightly packed the court is, but gives an urgency to Mitchell's address — he is off- camera for most of the shot — which would be lost in a routine cut to a close-up. In the second set-up, the tracking shot clearly shows us not only that Holcomb is shadowing Mason but that the attorney knows it and thus revels in the chance to put one over the flatfoot.
The whole film is distinguished by a stylish but not over- worked camera, plus some of the most engaging performances ever presented in a Perry Mason opus. Warren William is perfect, as usual. In fact, more polished, more suave, more sharp, more quick- witted, more intelligent, more charming. He is not only the best Perry Mason ever, but here he appears at his absolute peak.
Lovely Helen Trenholme presents such an utterly charming Della Street, one can only wonder why she was not hired for the rest of the series. The other ladies are not far behind in the acting honors: ravishing Mary Astor, who has this vulnerable quality which makes her beautiful face so entrancingly sympathetic; Dorothy Tree, wonderfully mysterious.
Warren William faces some excellent competition. As the bested District Attorney, Grant Mitchell has the sort of role he can put over with polish; but watch for Allen Jenkins as the hounding Sergeant Holcomb. It's a straight dramatic part without a trace of humor which Jenkins plays with consummate authority. I also enjoyed Harry Tyler as a bamboozled cab-man, and especially James Burtis as the persistent George Dobbs, one of Mason's investigators who assists Eddie Shubert in shaking down Miss Tree.
Other characterizations that deserve mention are Arthur Aylesworth's deputy sheriff, Russell Hicks' playboy millionaire and Gordon Westcott's harried neighbor. Addison Richards brings a nice touch of teasing authority to the role of the judge.
What a shame that other entries in the series didn't use this superbly fluid, cleverly scripted and most entertainingly acted entry as the model for all future Masons. In this one, as enacted by Warren William, Perry is much closer to Gardner's conception. As the city's most successful lawyer, Mason presides over a huge suite of offices, chock-a-block with clients and staff. He loves the publicity and success which enables him to be arrogant, masterful, belittling and choosy. With his secretary, Della Street, he is tenderly romantic. Everyone else, he orders about. This is the Mason we like, the Mason that Warren William so persuasively brings to life.