IT CAME FROM THE BOTTOM SHELF!

Every once in awhile there is a home video release of a forgotten film that is so enjoyable that it deserves extra attention. Kino Lorber Studio Classics’ Blu-ray release of Murder at the Vanities (1934) is one of those titles. Completed just prior to the enforcement of the censorship guidelines of the Motion Picture Production Code, Murder at the Vanities (a.k.a. Earl Carroll’s Murder at the Vanities) is one of the last of the Pre-Code movies and one of the most lasciviously entertaining. If the movie is remembered at all today, it is due to the musical production number “Sweet Marijuana,” which extolls the beneficial properties of the drug, while barely covered, topless women pose as cactus flowers. However, Murder at the Vanities has a lot more going for it than one ludicrously-staged song and dance.

First, a little background — The Earl Carroll Vanities was a popular, yearly Broadway revue, made up of unconnected comedy sketches and musical production numbers. The show was best known for it’s famed “living curtain,” which featured near-nude chorus girls** in “living statue”-like tableaus. Music, comedy, and near-nudity were enough to satisfy audiences when the show began in 1923, but by the 1930s customers expected a story to go along with the stage-dressing. Consequently, for the 1933 edition of the theatrical revue, Earl Carroll presented Murder at the Vanities, which used a “backstage murder mystery” plot to tie together the songs and sketches. This Broadway show was adapted for the 1934 film, although the script and musical numbers were completely changed for the movie.

The film takes place on the opening night of Earl Carroll’s yearly revue. If the stage manager, Jack Ellery (Jack Oakie), doesn’t have enough to worry about, his singing stars, Eric Lander (Carl Brisson) and Ann Ware (Kitty Carlisle), are late, his secondary female lead, Rita Ross (Gertrude Michael), is a vindictive viper, and he’s pissed off bull-headed police lieutenant Bill Murdock (Victor McLaglen) by forgetting to save the copper a pair of tickets for the “sold out” show. Things only get worse when someone tries to drop stage lights and sandbags on the leading lady’s head. While the scantily clad chorus girls “perform” on stage, Jack has no choice but to call in the “boys in blue” to investigate the attempted homicide backstage. Jack has his hands full trying to keep the show running out front, while bodies pile up backstage, Lieutenant Murdock tries to arrest his leads, and a pretty chorus girl (Toby Wing) tries to get his attention.

Murder at the Vanities’ 89-minute running time is a full meal, providing a wide variety of audience pleasures. However, the movie’s biggest asset is the central performance of Jack Oakie as the harried stage manager. The moon-faced actor may no longer be a household name, but he was one of the most multi-talented and likable performers in the history of cinema. Few actors could share the screen with the greatest comedians of the silent and talkie eras and more than hold their own, but Jack Oakie did just that (appearing with Charlie Chaplin in The Great Dictator and W.C. Fields in Million Dollar Legs). Oakie could act, sing, and dance, and his comic timing was second to none (and he did it all while hiding a severe hearing loss). There are few things more enjoyable than watching a master at work, and Oakie is at the top of his game in Murder at the Vanities. He is in absolute control, commanding the camera’s attention, often with the slightest of movements. Just check out the knowing glance that Jack shoots to the camera as he exits the movie, which provides the perfect capper on the proceedings.

While third-billed Oakie outshines the rest of the cast, all of the players are game and suitably over-the-top. Hulking Victor McLaglen provides an excellent foil for Oakie, as his character is as thick-headed and surly as the stage manager is wily and affable. Carl Brisson and Kitty Carlisle sing with enthusiasm and aren’t a buzz-kill as the romantic interests. Gertrude Michael is appropriately icy as the jealous third-wheel; and the remainder of the ensemble is made up of colorful characters including the formidable Jessie Ralph, wild-eyed Dorothy Stickney, leaden Charles “Ming” Middleton, elfish Donald Meek, aloof Gail Patrick, and cutie pie Toby Wing.

Even if you don’t like musicals, I think you’ll enjoy the fairly bonkers production numbers in Murder at the Vanities. The songs, including the standard “Cocktails for Two,” and novelties “Where Do They Come From (and Where Do They Go),” “Live and Love Tonight,” and “Sweet Marijuana,” are memorable and imaginatively staged. For example, ostrich fans are creatively employed to simulate waves breaking upon the shore, during an island-themed number (see the embedded video above). Fans of classic jazz are also treated to a performance by Duke Ellington and His Orchestra, which includes a surprisingly integrated dance number.

It should also be noted that Murder at the Vanities is an absolute feast for the eyes. It’s arguably Mitchell Leisen’s best looking movie, thanks to the gorgeous art deco sets of Ernst Fegté, the flamboyant costumes of Travis Banton, and most of all, the luminous cinematography of Leo Tover. Both the backstage intrigue and the onstage production numbers are photographed using stark shadows and radiant highlights, which makes Murder at the Vanities, the most noirish of all movie musicals.

If you’re looking for something different to add to your film discoveries list, I highly recommend you make every effort to check out Murder at the Vanities. In fact, if any of the following sounds the slightest bit appealing — snappy dialogue;  wackadoodle musical numbers; scantily-clad showgirls; murder mystery; suggestive references to sex and drugs; lavish sets; gorgeous photography; and masterful acting — I’d say Murder at the Vanities is worth a Blu-ray “blind buy.” The movie is bursting with energy, imagination, and fun, and it has an incomparable performance by the great Jack Oakie at its center. What’s not to like?

** Earl Carroll is sometimes credited for inventing pasties.

USA/B&W-89m./Dir: Mitchell Leisen/Wr: Carey Wilson & Joseph Gollomb (based on the play by Earl Carroll and Rufus King)/Cast: Jack Oakie, Victor McLaglen, Carl Brisson, Kitty Carlisle, Gertrude Michael, Jessie Ralph, Gail Patrick, Charles Middleton, Donald Meek, Toby Wing, Duke Ellington, Dorothy Stickney 

For Fans of: Unless you are allergic to black & white films, I can’t imagine anyone not enjoying Murder at the Vanities. It truly is one of those films that includes something for everyone.

Video: Kino Lorber Studio Classics released Murder at the Vanities on Blu-ray on October 11th. The Blu-ray has been sourced from a new 2K scan of original 35mm elements, and it certainly looks better than the prior DVD release. The image is sharp, with excellent contrast, and appropriate film grain. In addition, when compared to the DVD, the Blu-ray displays a bit more image around all four edges of the frame. Still, the picture is far from pristine. Thin, light scratches appear throughout, and there are a couple of static hairs that appear in the film gate. Any imperfections in the image didn’t take away from my enjoyment in viewing the film, and further restoration would likely have been cost prohibitive, due to the limited number of units an obscure, older title would sell on Blu-ray. Overall, the presentation looks very film-like, and it preserves the luminous glow of the beautiful cinematography. This is likely the best the film will ever look on home video, and I, for one, am overjoyed to own the movie in this condition.

The DTS-HD Master 2.0 channel mono audio sounds great. The dialogue, music, and vocals are well supported.

Special Features include:

• A new audio commentary by film historian Anthony Slide — The commentary is entertaining and thorough, covering the production history and major players behind the scenes. Slide even includes some anecdotes from personal interaction with Jack Oakie and his wife. It’s a very enjoyable listen.
• The original theatrical trailers for The Eagle and the Hawk (1933), Death Takes a Holiday (1934), Arise, My Love (1940), No Time For Love (1943), and Golden Earrings (1947).
• Optional English subtitles for the feature.

Streaming: At the time of this review, Murder at the Vanities was unavailable to stream on any of the major subscription services.  It was also unavailable to download as a digital rental or purchase.

More to Explore: You might want to pair Murder at the Vanities with another Paramount Pre-Code, International House (1933). The earlier film also throws a bit of everything into the mix, and it similarly features a drug-related musical number. Cab Calloway and His Orchestra perform “Reefer Man.”

Trivia: A pre-fame Lucille Ball can be spotted amongst the chorus girls, and director Mitchell Leisen plays the part of the orchestra conductor. Supposedly, Ann Sheridan and Alan Ladd are also amongst the extras, but I’ve yet to spot them myself.

For More Info: The Body Merchant: The Story of Earl Carroll by Ken Murray is out-of-print, but used copies can be picked up fairly easily.