A musical murder mystery? Yes, you read that right. . . and that was the type of film you often saw during the Pre-Code era. If 1934’s Murder at the Vanities was made just six months later, it never would have passed code and been released – fortuitous for the film makers and us.
Directed by Mitchell Leisen, this on stage/backstage premise finds Jack Ellery (Jack Oakie – The Great Dictator) putting on a sumptuous musical revue, featuring his two stars, an Austrian making his American debut, Eric Lander (Carl Brisson), and up and coming Ann Ware (Kitty Carlisle). Unbeknownst to everyone, a whirlwind romance has swooped up between the two stars. . . and they plan to marry after the opening show (they make the announcement upon their arrival at the theatre).
With Ellery seeing dollar signs in his future (after all, there is no better PR that will get the media talking than a surprise marriage), not everyone is as happy. . . Rita Ross (Gertrude Michael), who lost out on the starring role to Ware (and now holds an important supporting part), is absolutely furious. With a bizarre mixture of feelings for the man combined with a blackmailing effort that is in full steam, she has drawn the ire of both the star singer and a loyal Austrian backstage seamstress, Mrs. Helene (Jessie Ralph) – who has a secret connection to Lander and an even more mysterious past.
Having hired a private dick, Sadie Evans (Gail Patrick) – though I’m not sure this is the proper term for a female detective, to investigate Rita, ditzy chorus girl Nancy (Toby Wing) also seems to know something – but is constantly rebuffed by Ellery, as he pushes her aside with sexually excited eyes. She’s not the only one, for Rita’s maid, Norma Watson (Dorothy Stickney), who is gaga for Lander, is the type of lady who is noticed by none but sees everything.
As things continue to escalate (a murder is discovered. . . but that won’t be the only one), Ellery calls the police for support. . . what comes instead is Bill Murdock (Victor McLaglen), a disgruntled friend and detective who was promised tickets for the show and never received them. Spending half his time investigating the murder and the other half ogling the women, he is not exactly focused on the task at hand.
A twisty musical murder mystery, Leisen and his creative team cut back and forth between the backstage drama and the lavish musical numbers meant to entertain the packed theatre. And though by today’s standards all of this might not seem very controversial, some of it is pretty steamy. With countless chorus girls clad in revealing costumes, see through negligees, and a whole slew of undescribable get-ups in between, some might also be caught off guard by a rousing musical number titled “Sweet Marijuana”.
Another cool find for eagle eyed viewers are soon to be stars Ann Sheridan, Lucille Ball, and Alan Ladd – all of whom can be found hidden amongst the countless chorus lines. Even more exciting, at one point the classically tinged music gives way to a rip-roaring jazz number performed by Duke Ellington and his Orchestra.
A fun fusion of two very different genres, Murder at the Vanities is another solid example of the edginess and creativity found in the early sound era prior to strict enforcement of the Motion Picture Production Code (a.k.a. The Hays Code). Featuring stellar performances, playful winks, murderous backstabbing, and suggestive toe tapping numbers, there should most definitely be something for everyone. So, head off to the vanities to see this swinging number, it’s made to please.