bensonmum2 Philo Vance (William Powell) is on the case of a showgirl named "The Canary" who was murdered in her locked apartment. The suspect list includes a number of men The Canary was blackmailing and all were in the vicinity of her apartment the night she died.Unfortunately, the backstory behind the making of The Canary Murder Case is much more interesting than the movie. Originally, The Canary Murder Case was to be a silent picture. But at the last minute, the studio decided to turn it into a talkie. Scenes had to be re-shot and lines had to be dubbed. But one of the film's stars, Louise Brooks, refused to participate. The studio hired another woman who resembled Brooks, shot her from the back, and used her voice for some of the worst dubbing I've ever heard. It's really an interesting story. The result of all this effort, however, is a very uneven film that often feels cobbled together.Getting past the backstory, The Canary Murder Case is dull. It's an early talkie and it shows. They just didn't know how to shot sound. The plot has a reasonably interesting twist near the end, but it is telegraphed so far in advance that it shouldn't come as a surprise to anyone. Watching William Powell in this early Philo Vance effort, it's hard to believe this is the same man who would go on to play the absurdly (and I mean that in a good way) animated Nick Charles. Finally, the final reveal is so poorly shot that it's actually one of the duller moments of the film. What should have been the highlight is anything but.Overall, a 4/10 from me.

JohnHowardReid When Paramount decided to re-make their unreleased silent, "The Canary Murder Case" as a talkie, they faced two problems. The first was that the title star, Louise Brooks, had accepted an offer to work in Germany and refused to return. The second was that director Mal St Clair had no knowledge of sound technique. And perhaps it's true too that he supported Miss Brooks' stand. She and Paramount had parted on bad terms because the studio refused to honor her contract. In any event, Frank Tuttle was engaged to direct the talkie. In order to get around the Brooks problem, the studio wheeled in a double, Margaret Livingston. Not only did Miss Livingston dub the Canary's voice (in an atrocious Brooklyn accent yet!) but also substituted visually in back-to-the-camera long shots.So what we have is a movie in which all the Brooks close-ups (in fact all the shots which show her face), plus at least one short clip in a hotel corridor and maybe the long shot of the dancing chorus in the theater (and perhaps the location snip of the speeding car), were directed by Mal St Clair, whereas the rest of the action was directed by Frank Tuttle. A major headache for the editor indeed, and he is to be commended for a sterling job of work under extremely difficult circumstances. The pace is odd, the cutting unrhythmical and even jarringly abrupt at times, but at least the narrative still makes sense. Aside from Miss Livingston, the players do wonders with the not very convincing dialogue supplied by novelist S.S. Van Dine himself. Oddly, Eugene Palette copes best, giving a typically hearty impersonation of Sergeant Heath. On the other hand, Powell seems a little unsure of his character at this stage and is often content merely to rattle off his lines. The rest of the players are competent enough, if a little too theatrical at times, though comedian Ned Sparks seems miscast as a ruthless thug and Jean Arthur's fans are in for a considerable shock not only by the paucity of her part but by the most unattractive way she is presented and photographed.All the same, the film comes across as more than a mere curiosity. It not only bolsters the Brooks legend, but, if nothing else, it also presents a murder mystery that is not only reasonably intriguing but ingeniously solved.P.S. The actor who plays Sergeant Heath spells his name "Pallette", but IMDb's automatic spelling correcter refuses to acknowledge this.

drednm A famous "transition" film. One shot as a silent and partly re-shot for talkies. William Powell stars as Philo Vance. Jean Arthur plays a show girl. Louise Brooks is the "Canary." Of course this film is famous because Brooks refused to return from Europe to re-shoot scenes as a talkie. The studio then released news her voice would not record well. To get even more even they hired Margaret Livingston to dub Brooks' voice in a high nasal New York accent. Livingston also appears in a few long shots in a Louise Brooks hair cut.Slow but OK murder mystery. Brooks disappears after about 15 minutes; Arthur has no real part. That leaves us with James Hall as the dupe, Eugene Palette the dumb sergeant, Charles Lane the father, Oscar Smith the desk attendant, etc. Lots of talk.Brooks is gorgeous and in the credits you note she gets downplayed from 2nd to 4th billing. Another Paramount jab. Brooks indeed had a fine voice even though I've only seen a couple of lousy westerns she made. She was a beauty and had a good voice. But she sure was difficult. And her "Lulu in Hollywood" memoir doesn't change my mind about her. By the way: I loved her in Beggars of Life as well as Pandora's Box and Diary of a Lost Girl.

tprofumo This film is today memorable only for those interested in the struggles the studios went through during the conversion to sound, and those interested in the fortunes of two of Hollywood's most fascinating characters, William Powell, and Louise Brooks.Powell is cast as Philo Vance and plays him in a straight, deadpan manner. It's interesting because he has almost none of the charm and sophistication that he would bring just a few years later to the Nick Charles character that would become such a major hit.On the other hand, this is the film that sunk the Hollywood career of Louise Brooks. She had just completed the silent version of this film when her Paramount contract came up for renewal. She was owned a $250 bump in salary, which would have boosted her all the way to $1,000 a week. But B.P. Schulberg refused to honor the deal, saying he didn't know how she would record. Of course, Brooks walked out on the film, went to Europe and made film history, although it would be 30 years before anyone realized it. But eventually, the restored version of "Pandora's Box" would turn her into a screen legend and perhaps, the greatest femme fatale in movie history. But the film pretty much flopped at the time, mostly because it was carved up by the censors.Meanwhile, Paramount decided to do some reshoots to get some sound into "Canary", but could not lure Brooks back to Hollywood for love or money. So Margaret Livingston was brought in and dubbed Brooks' voice, unfortunately using a Brooklyn accent that sounded nothing at all like Brooks. (For a real example of her voice, check out "Windy Riley Goes Hollywood," a terrible 1929 short that was actually directed by Fatty Arbuckle under an assumed name. She has a low, sexy voice, despite Paramount's contention that she "didn't record." It's now available on DVD as added material for Brooks' other German triumph, "Diary of a Lost Girl," directed by G.W.Pabst.)At any rate, Canary is slow moving and dull to the extreme. After Brooks' character is knocked off, the film goes straight downhill and is almost impossible to watch. But the first part is fascinating, if only because Brooks is so damned beautiful that she takes your breath away.