lugonian SONG OF THE THIN MAN (Metro-Goldwyn-Mayer, 1947), directed by Edward Buzzell, reunites the popular team of William Powell and Myrna Loy for the thirteenth time in what proved to become their sixth and final go round as society sleuths Nick and Nora Charles. Though final installments rarely measure up to the initial entries, this one is no exception. Being more mystery than comedy, this edition modernizes Nick and Nora from old-style 1930s formula to the then current trend of 1940s film noir scenario. Seemingly a good idea at the time, the results for the Dashiell Hammett created characters may seem out of place. Nicky Jr. is back, this time played by the precocious eleven-year-old Dean Stockwell, while Asta (no screen credit given) is around to make things familiar to somewhat different proceedings.The 86 minute story gets underway as Nick and Nora Charles (William Powell and Myrna Loy) attend a social function on board a gambling vessel, the S.S. Fortune, as guests of David I. and Jessica Thayer (Ralph Morgan and Bess Flowers). As Nick enjoys a few drinks, situations start to occur. Tommy Drake (Philip Reed), the ship's band-leader, gets into a fight with clarinet player, Buddy Hollis (Don Taylor), the former beau of singer, Fran Ledeu Nash (Gloria Grahame), who left him over for Drake. In desperate need of $12,000 to pay off his gambling debts to mobster, Al Amboy (William Bishop), Drake tries to get a loan from his agent, Mitchell Tablin (Leon Ames - sans mustache), but is refused. Tamblin's attractive wife, Phyllis (Patricia Morison), is secretly attracted to Drake. Janet Thayer (Jayne Meadows) loves Phil Orville Brandt (Bruce Cowling), the ship's manager, and against her father's wishes, elopes with him. Before the night is over, Tommy Drake is murdered and Brandt becomes the prime suspect. Brandt and Janet come to Nick Charles at his luxurious apartment for help, but because of the circumstances, has Brandt arrested. After an unforeseen gunshot occurs, Nick comes out of retirement (again). Rather than joining forces with the police, he has both Nora and the jive talking Clarence "Clinker" Krause (Keenan Wynn) accompany "boss man" in the investigation, which leaves Nicky Jr. (Dean Stockwell), a big fan of murder mysteries, in the care of their housekeeper, Bertha (Connie Gilchrist). In due time, the trio go through all night investigations and questioning (amazing how many suspects are still awake at 4:30 a.m.), with another murder taking place leading the trio on a trip to a private institution of the Valley Rest Home in Poughkeepsie to locate a missing witness. Taking the next train back to New York, situations turn dramatic when Nora gets an intuition that her son might be in great danger.For this installment, some elements work, others do not. Comedy wise, there's Asta's cute reaction as he observes Nick's effort to discipline the junior thin man with a spanking, though Nick's envisioned flashbacks from the seat his son's pants hold him back. There's also a run-on gag with Asta caught sleeping with Nicky on his bed, and returning to his own sleeping corner where he belongs, then returning to Nicky's bed after Nora closes the door. Though such scenes offer some lighter moments, other situations of amusements and one-liners fall short of any originality. What is new are interludes of jazz music and interesting camera tracking on two night club performers (Grahame and Taylor); Nick having Nora joining forces with him and musician (Wynn) rather than a police inspector; and Nora's confrontation and near death experience with a mentally unbalanced patient. A brutal shooting of one of the suspects followed by Nick and Nora getting ready for bed and not being disturbed by what they've witnessed seems a little out of character, yet after all these murder cases, they're probably used to it. One let-down is the traditional climax of Nick's gathering of suspects which isn't as suspenseful as it once was. How times have changed.Reportedly the lesser of "The Thin Man" series mainly due to Powell and Loy not fitting in with this modernized screenplay. No doubt had the same basic premise been used in a non-"Thin Man" mystery in something titled "Gambling Ship" starring, for example, Robert Mitchum and Ava Gardner, and retaining much of the supporting cast, this might turned out to be a successful forties style outing. One would assume that had the writers kept the traditional balance of comedy and murder as before, they might have kept this from becoming SWAN SONG OF THE THIN MAN.And what is the song of the thin man? Well, possibly, "You're Not So Easy to Forget" by Herb Magidson and Ben Oakland, sung by Gloria Grahame. A worthy dedication to Powell's Nick Charles, who's not so easy to forget. Definitely not the finish of Nick and Nora Charles, "The Thin Man" returned on television as a weekly half hour 72-episode series (1957-59) starring Peter Lawford and Phyllis Kirk. As for the theatrical series, this and other "Thin Man" capers, all available on home video and DVD, can be seen occasionally these days on Turner Classic Movies. (**1/2 martinis)

Elswet This was another excuse to showcase the wonderful chemistry between Loy and Powell. Thankfully, I cannot say that there is no attention to detail, story, plot, or execution, because there is. It does somehow seem to be secondary, however, to the marvelous on screen relationship the principles enjoy.I like this in spite of the comparatively weak production style, plot, etc. and more for the quirky, sweet element and less for the tremendously compelling story or plot. It has a close feeling to Another Thin Man in that it was enjoyable, not as good as Shadow, or the first two installments, but enjoyable, nonetheless.All in all? This is great for an afternoon, or rainy day movie.It rates a 7.3/10 from...the Fiend :.

Neil Doyle It was inevitable that "The Thin Man" series would run out of steam eventually and this last entry is probably why both Powell and Loy never made another one. The background for this mystery is a gambling boat with jazz musicians giving the film a very dated look because of all the jive talk, circa 1940s.And as usual, there are more suspects than there are murders, with Asta and Mrs. Charles trying to help Nick solve the crime. MGM spared no expense in giving the film a glossy, polished look and a sparkling supporting cast--PATRICIA MORISON, LEON AMES, GLORIA GRAHAME, KEENAN WYNN, DEAN STOCKWELL (then 11) and PHILIP REED.The problem is the usual flaw in these Nick and Nora mysteries--the viewer never gets enough clues to solve the crime along with the two sleuths. You're just along for the ride as the two deal with a host of unpleasant characters, among whom is a murderer who invariably slips up in time for Nick to solve the crime.Summing up: Good chemistry between Loy and Powell is still there, but they get little help from a tiresome script.

Spondonman Totally ordinary now, the Thin Man bowed out as slightly off-key as one of the clarinet solos played by the mysterious key character Buddy. Can madness be turned on and off like a tap? However still some fine moments here even for 1947, but especially for 2006.Murder is committed on a heaving nightclub-boat the Charles are disporting themselves on, and Nick launches himself into the case with gusto for the once and only. The dissembling suspects are assembled for the viewers, but with this lot for the first time I didn't care whether they were all guilty or innocent. None of them were given enough time to become interesting, whether as baddies or semi-baddies. If Nick had pointed out Junior as the murderer I would have been surprised but accepted his deductions as infallible as usual. Keenan Wynn and other all-white musicians laid on the hep talk with a trowel, to Nick and Nora's continual generation gap bewilderment.Overall a tremendous Golden Age Hollywood comedy drama series, starting with a bang and ending with a slight fizzle. So 6/6 it was but I give this one a good 7/10.