Every film from Roger Ebert's "Great Movies" essays.
The Thin Man
A laugh tops every thrilling moment!
After a four year absence, one time detective Nick Charles returns to New York with his new wife Nora and their dog, Asta. Nick re-connects with many of his old cronies, several of whom are eccentric characters, to say the least. He's also approached by Dorothy Wynant whose inventor father Clyde Wynant is suspected of murdering her step-mother. Her father had left on a planned trip some months before and she has had no contact with him. Nick isn't all that keen on resuming his former profession but egged-on by wife Nora, who thinks this all very exciting, he agrees to help out. He solves the case, announcing the identity of the killer at a dinner party for all of the suspects.
Murder, romance, high society, disturbing levels of alcoholism, an abundance of dog reaction shots: this is cinema.
I am taking a film class this semester. I needed to fulfill an elective requirement, and this certain class just so happened to be an option. Being a huge fan of movies, it was a no brainer for me to take. I'd certainly rater take this than a public speaking course. Anyway this movie was the first film we had to watch!
The Thin Man was a lot better than I expected it to be! I've never really any movies made before 1950. Yes, I know that's bad haha. This was pretty humorous and entertaining, so I cannot complain!
'The Thin Man' is a pre-code Hollywood mystery comedy if there ever were such a genre (I guess Blake Edward's Pink Panther films would classify surely). And you can certainly see it being before the Hayes code with its massive amount of alcohol consumption, a husband punching his wife in the face, a on screen murder and also many sexual innuendos towards the end. But I must say I liked the hell out of this movie and it genuinely surprised me.
This is the type of film that after immediately watching it and processing it I have the distinct feeling in my gut that I know for certain I will like it even more with a re-watch. I just literally…
An endlessly charming and effortlessly entertaining comedy closed out with a exquisite dinner party denouement. The overt theatricality and some dated techniques are slightly grating for me as a modern viewer but The Thin Man is still harmless fun.
The mystery is convoluted, and I never have been able to keep all the names straight.
But who could get tired of Powell (Nick Charles) and Loy (Nora Charles) trading wisecracks and drinking non-stop? You know you're in for something special when Nora arrives late to the bar and orders 5 martinis to be brought all at once so she can catch up.
Pretty impressive for a movie shot in 12 days. Also I wish all murder mysteries were solved over a large banquet dinner.
William Powell is to dialogue as Fred Astaire is to dance. His delivery is so droll and insinuating, so knowing and innocent at the same time, that it hardly matters what he's saying. That's certainly the case in "The Thin Man" (1934), a murder mystery in which the murder and the mystery are insignificant compared to the personal styles of the actors. Powell and Myrna Loy co-star as Nick and Nora Charles, a retired detective and his rich wife, playfully in love and both always a little drunk.
Nick Charles drinks steadily throughout the movie, with the kind of capacity and wit that real drunks fondly hope to master. When we first see him, he's teaching a bartender how to…
Introduced him indoors to some true classic cinema gems, and happy to report that he loved it and we now aspire to be Nick and Nora.
Almost everybody I know is married, and most of them are in marriages that are, so far as I can see, happy and stable. Yet none of them make me wish I was married.
Nick & Nora Charles totally make me wish I was married.
Marvelous fun, a film that manages to be the antecedent to screwball comedy and film noir all in one suave package. Powell and Loy are endlessly charming, the plot is as twisty a whodunit as they come -- even Asta, the magical dog that never barks, adds to the sense of high-class fun. Then there's the gaggle of gleefully dysfunctional supporting characters, and the mysterious central figure who might be the culprit and might be one of the victims. A dinner party should set everything straight.
If someone is gonna get murdered, I want this pair and their dog around when it does.
I had to show it to my family! Third viewing in two days! A new observation--I love how Nick seems to have unusually good relationships with men he's helped to put in jail, and we see why this is when he refuses to press charges when he gets shot in his bedroom. Details like this flesh out his character in a significant way without needing to be obvious about it.
The best part of the film, though, is still the relationship between Powell and Loy. I just don't get tired of their banter. There are some very memorable lines throughout.
Perhaps it's time to move on to the second one now, eh?
I watched it again immediately following my first viewing because I wanted to get a better handle on the characters. The mystery itself is very well thought out, and I take back what I said in my first review about it being average. Even without the amazing chemistry of the leads, this would more than hold its own among others in its genre.
William Powell and Myrna Loy must have the best chemistry I've ever seen onscreen! Their banter is the highlight of the film. It takes a good half hour to get going, but then it manages to be both film noir and romantic comedy at the same time. How is such a thing possible? I'll confess that without the leads, it's a fairly standard plot and I'm not sure it would warrant a second look.
When in doubt, go THIN MAN.
There's a plot, but that's irrelevant. Just show me William Powell and Myrna Loy lobbing barbs with cocktails resting on their fingertips.
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