csteidler
It's a foggy night. A man with an umbrella enters a London shop. Loud threats are heard and the shopkeeper disappears. A note is found that reads PAY OR BE SEEN NO MORE. The plot is forgettable but this sleek mystery-comedy from MGM is about as smooth as 1930s B movies get. Reporter George Murphy sticks his nose into the missing person case and tangles with Scotland Yard man George Zucco and rich girl Rita Johnson. Everything happens very quickly: Murphy sees a man with an umbrella climbing in a window, so he follows him in and tackles him in the hall. Turns out the intruder is Rita Johnson's butler and next thing you know Murphy and Johnson are exchanging silly dialog:Johnson: "Frankly, I'm disappointed in you, Mr. Dennis. You've been on this case almost two hours, and what have you done besides attacking my poor butler?" Murphy: "I've met you."George Zucco is fun to watch as a detective instead of the villain for once; he and Murphy enjoy the typical friendly inspector-reporter rivalry. Virginia Field has a colorful role as a barmaid. Leo G. Carroll as the butler is also worth keeping an eye on. There's a bit of suspense but nothing too intense--and certainly more comedy than mystery. Unpretentious fun.
RRPilot
Here is a film that brought waves of nostalgia to an old movie buff who usually never forgets a film but often cannot remember the titles of something I have not seen in 50 years. I viewed it by chance on TCM and as soon as I saw the Umbrella Man I knew it was an old favorite from childhood. I am constantly drawn to any film about London and this was no exception. It contains much of the usual elements of period London, the constant fog, Big Ben, elegant town house, eerie Thames River, bumbling police, pub, two lovely ladies and a semi-comical newspaper man protagonist. However it was the bone-chilling Umbrella Man that made the indelible imprint on my young mind years ago. Now the film seems silly and outdated and not the least bit scary, oh but what fun to see again. The film contained credible performances with a somewhat predictable plot. With a little bit of rewriting and a skilled director I think this film would be a great candidate for a serious remake.
Neil Doyle
MGM seldom delved into atmospheric B-film mysteries depicting "London By Night", since those kind of thrillers were usually made by studios like RKO and Universal during the '30s and '40s.But this atmospheric mystery, filmed entirely on the MGM back lot, is a welcome diversion that graced the bottom half of double feature bills back in 1937. GEORGE MURPHY is a man who wants to go to Paris in the morning (he tells us so about ten times during the course of the story), but reluctantly stays behind to solve a murder case involving a man who uses disguises and an umbrella to do his dastardly deeds.RITA JOHNSON is the pretty socialite with the strict father (MONTAGUE LOVE) and her household includes LEO G. CARROL. GEORGE ZUCCO is on the good side of the law (for a change) as a Scotland Yard detective.It's an entertaining little trifle that will keep you guessing as to the outcome after a few murders along the way. Unfortunately, VIRGINIA FIELD, as a Cockney barmaid, overacts outrageously in a desperate attempt to provide comic relief. The dog Corky is much better at that.
boblipton
This decent but unremarkable programmer has George Murphy sliding occasionally into his Irish brogue, as a reporter in foggy London who wants to go on vacation, but he needs to solve the mystery of 'the Umbrella Man' and court Rita Johnson -- doing a Billie Burke imitation -- assisted and hampered by his dog and Scotland Yard.As you can tell from that description, it has occasional screwball overtones, but it's largely carried by Murphy's Irish charm. MGM didn't do many of this sort of movie once you descended from the heights of the THIN MAN series, and so it needs to be compared to the RKO programmers of the type. It comes off well in most departments, but it does lack focus and depends on the charm of Mr. George Murphy.... later U.S. Senator. That's one way of getting there, I suppose.
AD
