SpuffyWeb Sadly Over-hyped

Matialth Good concept, poorly executed.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Robert J. Maxwell An early, inexpensive programmer involving death threats against the leader of a club that devotes itself to solving crimes. That's all it does. It solves crimes. The death threats come from a hooded gang of ritualists who commit evil acts. That's all they do. Commit evil acts.I imagine that in 1932 this was an entertaining hour spent at the local Biograph but more than eighty years later it seems pointless. It's presented as a comic mystery -- secret identities, hidden passages, a haunted mansion on Long Island -- but the mystery isn't really gripping and the comedy seems stale.James Gleason, playing James Gleason, is a police officer who sees something suspicious and blows his police whistle. Another officer runs up and asks if there's something going on. "Naw -- I was just tunin' up the cement," replies Gleason with incandescent sarcasm.Really, if you miss it, you won't be missing much.

Red-Barracuda The Crooked Circle is a film that has a lot more potential than it fully realizes. It starts with an intriguing scene with a group of black hooded individuals in an underground room. These shady characters are the Crooked Circle and they are planning revenge on a group of amateur sleuths called the Sphinx Club. Now this set-up makes it sound like the movie could go in an interesting direction with both these groups fighting against each other. Unfortunately, the focus is subsequently too often on comedy, rather than suspense.The film takes the form of the old dark house format which was hugely popular in the 1930's. The house itself is full of the usual array of secret passageways, trap-doors and hidden rooms that was part and parcel in these movies. The mystery isn't ultimately too compelling, although there is a reasonable twist near the end. It's as creaky as you would expect but not without some charm.

tedg By 1930, film was already a living, breathing organism that was manipulating artists and audiences in its quest to survive and grow. From 1932 to 1938, that organism tried a number of potential branches of evolution before settling on one main one. But during that period, many experiments can be viewed, experiments that did not blossom and quickly became extinct.Sadly, this exemplifies one of them and it is such a perfect example, such a pure specimen, it really must be seen if only for history. I'm increasingly convinced that we cannot be fully in the film experience until we have shared in some of its failed attempts.What characterizes this is extreme abstraction. The basis is the detective story, a basis that is so strong in narrative appeal it survives today as the root of most film. But this experiment abstracts it extremely.The bad guys are not just bad, but have a club. The good guys are not just good and smart, but they have a club too. The two clubs are at war, mostly it seems because that's what two groups do: define the other as the enemy and adopt roles accordingly.The setting is abstract too: a "haunted" mansion with trap doors, secret passages, resident hunchback, disembodied music, skeletons (that predictably catch on the girl's dress) and blackouts. There's a very, very clever twist in the story too, one you know is there but you just can't pin down until it happens.Zazu Pitts does a spooked housekeeper whose voice would be appropriated for Olive Oyl who would make her first appearance the following year.Ted's Evaluation -- 3 of 3: Worth watching.

Richard_Harland_Smith Bruce `Lucky' Humberstone's THE CROOKED CIRCLE begins with that eponymous quintet of `counterfeiters and thieves deluxe' pledging their dark allegiance (`To do for each other, to avenge any brother, a fight to the knife and a knife to the hilt!'), drawing lots from a hinged skull for the honor of bringing to ground Colonel Wolters, leader of an affluent band of amateur criminologists known as The Sphinx Club. In its second half, the film adheres faithfully to the established spookhouse syllabus (sliding panels, trap doors, and an attic stuffed with skeletons, sarcophaguses and Oriental objets d'art), with director Humberstone maximizing the felonious, comic and preternatural possibilities, all nicely complemented by the amusing dialogue of playwright Ralph Spence (THE GORILLA) and Tim Whelan. Rounding out the roster of red herrings, henchmen and gawkers are WHITE ZOMBIE's Robert Frazer, the ever-quivery Zasu Pitts (`There's a ghost in this house and when he plays the violin, something always happens to somebody!'), James Gleason as a malaprop-prone New Yawk flatfoot, KING KONG's Frank Reicher, and `queer-acting hunchback' Raymond Hatton (later the sour Farmer Larkin of INVASION OF THE SAUCER MEN). It's corny and creaky and good old fashioned fun for those hip to the charms of Poverty Row whodunits. See for yourself!