rowenalite
Only forty-five minutes long, The Hat Box Mystery is a fast-paced and feisty comedy/suspense combo. Directed by Lambert Hillyer, the 1947 release has a screenplay by Carl K. Hittleman and Don Martin that was based on a story by Hittleman and Maury Nunes. The film opens in the office of private detective Russ Ashton (Tom Neal) sitting behind a desk and shuffling through papers. "Hello, folks," he says earnestly, looking directly at the camera and audience as he breaks the fourth wall. "Do you know what these are? Bills – unpaid bills." Russ glumly complains about the inability of his business to make a profit and then wryly suggests that he could "blame my secretary." That secretary, lovely, pert blonde Susan Hart (Pamela Blake), immediately joins Russ who informs the audience that he and Susan plan to marry someday. The scene is suddenly shaken by loud and disconcerting banging noises. Russ ironically observes, "That, no doubt, is my silent assistant, Harvard." Harvard (Allen Jenkins) takes a place beside Susan. "Everybody calls me Harvard – maybe because I never went to Yale," Harvard joshes, establishing himself as the comic foil to the sober Russ who then informs the audience that Harvard's sweetheart is Veronica Hoopler (Virginia Sale) who runs the nearby hamburger stand. The dark-haired, homely Veronica is soon clinging to Harvard. Harvard reminds Russ to "tell them our names." Then Russ tells the audience the names of the assembled actors and actresses. "Here's the rest of the cast," he continues and the screen switches to credits across a beautifully be-ribboned hatbox.The opening establishes The Hat Box Mystery as a movie with a difference, a movie conscious of its own artifice and confident enough to ease into a film story line after proclaiming that artifice.The mood switches dramatically as we see an urban area after dark, and then a woman walking in the darkness of that city street, and then a man following her. Ominous background music heightens the tension. "Just a minute, Mrs. Moreland," the man says. The well-dressed lady (Olga Andre) sharply protests, "I'm not giving you another penny. I'm finished with blackmail." Cut to daylight, the Ashton Agency office, and the trio of Russ, Susan, and Harvard. There is a knock at the door. Russ hopefully speculates, "It might be a client." Wanting to impress someone presumed to be a potential client, Russ picks up the telephone receiver and, as a man walks into the room, Russ asserts in a stout voice, "I can't be running down to Washington to solve your tough cases." When Russ hangs up the phone, he asks the newcomer, "What can I do for you?""You can't do anything for me," the man replies with a thin, knowing smile. "I just wanted to tell you that now that your bill is paid, my partner is hooking up your phone. It should be on any minute." The described scenes illustrate how this tight little film veers between chilling urban-jungle suspense and lively comic relief.When Russ is – genuinely -- called away to Washington on a job, Susan takes over the office. Her first client (Leonard Penn) sports a singularly dramatic appearance. He is a bespectacled man with a goatee who walks in carrying a cane -- and a hatbox. He tells Susan that he suspects his wife, Marie Moreland, of seeing another man. He wants Susan to take a photograph of Mrs. Moreland as she comes out of the building in which this other man resides so he can have evidence to show a divorce court. Mr. Moreland shows Susan a picture of Marie. He tells Susan that Marie knows he is aware of her extracurricular activities and would avoid a camera if she noticed it. Thus, he has rigged up a camera inside the hatbox. Susan only has to pull a little lever outside the box and she can take the telltale photograph.Happy to be on her first case, Susan assures Mr. Moreland that she is eager to perform the task that might get him the divorce he wants. On the sidewalk before a swanky apartment complex, Susan exchanges pleasantries with a cop (Tom Kennedy) on the beat. Marie Moreland walks out of the building. Susan points the hatbox at Marie Moreland and pulls the lever. A shot rings out and Marie collapses. The shocked Susan also sinks collapses.Newspapers flash across the screen with headlines about the "Hat Box Mystery," how a detective's assistant is being held in the bizarre shooting, and how she blames a shadowy "Mr. Moreland."Police investigators inform Susan that Marie has not had a husband for years. Susan is baffled. She is also deeply distressed to have shot another human being, however accidentally, flummoxed that someone apparently conned her into becoming an instrument of death, and terrified to face a murder charge. When Russ returns, he is determined to learn the truth of the matter and to clear Susan. Much of the rest of this fast-paced film shows Russ figuring out the intricacies of a diabolically clever murder and frame-up. What makes this brief film special is the way it successfully combines disparate genres and keeps the viewer interested. Between following a murder plot full of nefarious gangsters and tantalizing twists, we watch the comical – yet strangely touching – romantic machinations of bumbling Harvard and plain-faced but winsomely sweet Veronica. We remain interested through the film's genuinely surprising end.As both a mystery and a comedy, The Hat Box Mystery is a killer of a cutie of a film.
bkoganbing
When I saw that Robert Lippert was listed on the credits as 'presenter' a lot of questions about The Hat Box Mystery were answered. Shortly Lippert would found his own studio that did poverty row quickies, some were better than others. Though it was a product of the short lived Screen Guild Productions, this film has all the earmarks of a typical Lippert.Tom Neal takes over a ramshackle detective agency that's up to the privates in debt. Girl Friday Pamela Blake works for Neal as does Allen Jenkins whom he keeps around for laughs. And also due to the fact that Jenkins's girl friend apparently feeds them from her hamburger stand when they can't afford a meal.A rather elegant man in spats and a van dyke beard says he'd like some incriminating evidence on his wife, a photograph coming out of a building where presumably a paramour resides. Blake volunteers and she has a camera concealed in a hat box. Only there's a gun in there and when Blake shoots a picture, the victim Olga Andre falls over shot.I won't go into any more of this very short B film, but simple forensics which Neal does and the police should as a matter of routine would have cleared Blake. Just where were the CSI technicians when this prominent society woman was shot?Allen Jenkins is simply Allen Jenkins, the none too bright sidekick on either side of the law in so many Warner Brothers films. But his presence in the movie was a Bob Lippert trademark. In about a third to half of the films at Lippert Studios they had a resident comedian who functions like Jenkins here. No doubt Lippert got the idea to put Sid Melton under contract and he made a few dozen Lippert films always the comic relief on either side of the law. And in some dreadful films just like The Hat Box Mystery.
mritchie
This Poverty Row detective film is dreadful, but for a B-movie buff like me, still has moments of interest. While struggling detective Tom Neal is out of his office, his secretary/fiancée Pamela Blake takes on a case for him; a mysterious man with an obviously fake goatee says he wants her to get photographic evidence of his wife's adulterous activities. He tells Blake where to take the picture and even gives her a hat box with a hidden camera to use. However, when Blake goes to take the photo, it turns out that the box is rigged with a gun, and she shoots the wife. With equal parts help and hindrance from bumbling sidekick Allen Jenkins, Neal works to clear Blake. The plot is serviceable but with a weak script and a 45 minute running time, this ends up feeling more like a summary of a movie with most of the action and explanatory detail left out. I like both Neal and Jenkins (though the handsome Neal, only in his mid-30's, looks rather seedy here) and they both try hard, but the weak material defeats them. Blake is totally forgettable, though comic actress Virginia Sale gets some chuckles as a burger slinger and Jenkins' long-suffering gal. The most notable part of the film is at the very beginning, when the four leads introduce themselves directly to the camera, first in character, then with Neal giving their real names.
vandino1
Obviously this was a programmer made to fill out a double bill in theatres. Robert Lippert, the producer, made a career of it. The film itself features the capable Tom Neal and Allen Jenkins in an otherwise no-name cast. It's a flat-footed mystery with Neal in charge of his low-rent yet financially strapped detective agency (is there EVER a movie featuring a detective agency that actually makes money?) He gets a job investigating a caper that involves killing someone with, yes you guessed it, a hat box (tricked-out with a gun inside). It's such a short film at 44 minutes that it barely qualifies as a feature and, if made a few years later, would have been an episode of a TV mystery show most likely. Aside from an opening gag involving an out-of-work phone that is funny, the only thing of note is the prologue wherein the actors introduce themselves and the characters they are about to play. An odd thing and possibly the only time it's been done on film (there has been end-of-film bits where the actors bow or are presented by a voice over, but I don't know of another where actors come out at the start to announce themselves).
