The Thin Man

Fred and Ginger were not the only wildly popular cinematic couple of the 1930's. William Powell and Myrna Loy were slightly more prolific then their dancing contemporaries, appearing in thirteen films together between "The Thin Man" in 1934 and "Song of the Thin Man" in 1947. Handsome and charming William Powell matched perfectly on screen with the beautiful and elegant Myrna Loy, and the two had little trouble convincing audiences they were in love with each other, as the banter between them flowed effortlessly. Of course it also helped that the two of them were very gifted comedic actors; one liners were fired nearly as often as drinks were thrown back, and that is saying something. For as much as people rememeber Nick and Nora (their defining roles from "The Thin Man" series) as a handsome couple that tossed zingers back and forth at each other, they are also remembered for constantly drinking. Much like "Top Hat", "The Thin Man" was made at the height of the Great Depression, yet Nick and Nora are a happily married couple, very much in love, very rich (thanks to Nora's family's fortune) and very tipsy. The American public adored "The Thin Man" films, specifically the pairing of Powell and Loy, which prompted MGM to commission scripts for the two even when there was not a "Thin Man" film in production, resulting in such classics as "Libeled Lady" and "I Love You Again". But "The Thin Man" was the film they would forever be remembered for, and in spite of financial limitations, the film boasts more than just a pitch perfect starring duo; its script is extremely clever and hilarious (based on the great Dashiell Hammett novel of the same name) and it even features a charming dog: Asta (who would go on to his own acclaim in films such as "The Awful Truth" and "Bringing Up Baby"). Filmed in only two weeks by the legendary W.S. "One Shot" Van Dyke, "The Thin Man" is pure entertainment.

Subsequent Hollywood legend has decreed that the titular thin man is Nick Charles, William Powell's character. This, such as Ingrid Bergman saying "Play it again, Sam", is in fact, false. The thin man is really Clyde Wynant, a mysterious inventor whose disappearance sets the film in motion. Nevermind that this character only appears in "The Thin Man", thus rendering the subsequent films' titles completely ridiculous; by that point, people associated William Powell and Myrna Loy with "The Thin Man", whether he was in it or not. After Wynant disappears, his daughter appeals to Nick for his help in finding him. Nick politely declines because he is retired from the sleuthing business, spending the majority of his time these days bantering and drinking with his wife. Nora likes Dorothy, Wynant's daughter, though, and thinks Nick should take the case, if only so that she can see him do something other than mix a drink. Thus Nick reluctantly begins asking some questions and knocking on some doors. Soon it is revealed that Wynant's mistress has been murdered and that she had been in possession of some bearer bonds, which are also missing. The police suspect it is Wynant, who killed the mistress when she would not give up the bonds. Nick, always one step ahead of everyone, including the viewer, finds Wynant's body buried in his laboratory though, and knows that the real killer is still on the loose. After working his way through a variety of shady characters, Nick invites the ever growing cast involved in the case to a dinner party hosted by he and Nora, where he plans to expose the true culprit. What is funny is that the film breezes through Nick's actual sleuthing as if it were nothing really; even while working he is rarely seen without a drink in his hand, almost as if he would be doing this sort of thing anyway.

The dinner party scene is significant for a number of reasons. It plays out like an Agatha Christie novel, with all the principal players together in one room. Nick emcees the proceedings, working his way through every scenario: Wynant's ex-wife and her new gigolo boyfriend, his bizarre son, even his sympathetic daughter. The scene is a showcase for Nick, and in typical W.S. Van Dyke style, plays very fast as you realize just how good a detective Nick is. After identifying the killer (not nearly as striking as a young Jimmy Stewart being revealed as the criminally insane killer in the first sequel, 1936's "After the Thin Man"), Nick and Nora finally can get down to more important things: like drinking! For the next fifteen years, "The Thin Man" would come to define not only detective stories but also screwball comedies. Audiences clamored for more Powell and Loy and MGM responded, churning out "Thin Man" movies, adding a son to the proceedings and increasing Asta's part (really!); rival studios also sought to duplicate the rapid fire banter/chemistry between the two stars, sometimes succeeding, like in Howard Hawks' hard boiled newspaper story "His Girl Friday". What makes "The Thin Man" even more remarkable is that initially MGM had no faith in it. If you really consider the film, you can tell the neglect the studio showed it: bare sets, no exteriors, a small cast, and One Shot Woody at the helm to make sure there were no expensive delays. All of this actually aides the film though; by streamlining it, the dynamic pairing of William Powell and Myrna Loy becomes even more prominent, and that is certainly the main attraction, even 70 years later.